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CRUCIAL BLAST WEBSTORE: NEW ARRIVALS - FEBRUARY 2024

Get ready for a MASSIVE list of new releases, rare warehouse finds, and everything in between! I'm working on this huge list right now, the first for 2024, so stay tuned!



Here's a quick rundown of most of the other new releases and re-stocks that are on this week's new arrivals list:


COMING SOON

As always, that's just the beginning. There's much more mutant heavy music and misanthropic art to be found on our shelves and in our bins...keep reading below to check out all of the strange and extreme new music, film, and art that's included in this week's new arrivals list.

You can now click on the cover image for any title that we carry here at Crucial Blast to see a pop-up photograph of the actual item! Not all of our older titles that we have in stock have product photographs attached to them, but almost anything new that we get in stock will have this feature. The pop-up photo feature can be wonky (like most things) if you are using Internet Explorer, but works perfectly in Firefox and other browsers.



FEATURED RELEASE


VRAJITOR’S TENEBRARIUM  E.N.L.D.  CD   (Avantgarde Music)   18.99
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There are certain things that grab my attention when it comes to discovering new bands and artists. I try to pay attention to several outstanding Youtube channels that post amazing demos, and Bandcamp releases from bands I've never heard of. Sometimes, I'll be searching through Metal-Archives.com for research, and I'll end up chasing some killer obscure act from Slovenia down a deep and twisting rabbit-hole. And when I'm working on Discogs, there's stuff that I see that will reach out and grab me by the throat. I'm obsessive about reading the "Style" line in band and release listings on that site. You never know what you might find.

Like a band described as "Prog Rock, Dungeon Synth, Funk Metal.

Alright, you' got me. And thus I stumbled across a band called Vrajitor’s Tenebrarium, a new (I assume) Finnish band with one member, a guy called Lord Vechi Vrăjitor, aka Juuso Peltola, who also plays in the black metal bands Warmoon Lord and Argenthorns. Avantgarde pouts out a lot of wild stuff (the label name is there for a reason), and when I picked up this debut album, covered in gloomy, wizard's castle-style artwork and beautifully designed in six-panel digipak, I couldn't wait to hear this thing. OK, so the whole "funk metal" tag is clearly someone being cheeky, but what it is, is some of the best Goblin / Italian prog-rock inspired mutation I've ever heard. This bizarre band wears its influences on its flowing, wizard-robe sleeves, but adds on a whole new level of groovy weirdness that's really different from the other Goblin-influenced outfits I listen to.

Kissed by gloriously nostalgic synthesizers, the opener "Et Mors Pallida Venebit" unfurls waves of majestic Tangerine Dream-esque electronics, symphonic grandeur, and huge-sounding church organs, all folded together into this striking keyboard-heavy introduction inhabited by a female vocalist that sounds like she wandered in from the Celtic Frost Into the Pandemonium sessions. A short but killer blast of synth-drenched darkwave then leads into the similarly synth-heavy prog rock of "Rubedo", filled with lush acoustic strings and spooky arpeggios that have an odd Fabio Frizzi vibe even as the metallic power chords and booming percussion kicks in. When this really starts to rock, it's fuckin' awesome. "Rubedo" has this distinctly 80's spook-prog vibe that's unmistakable, conjuring memories of both Frizzi and Goblin, as well as the weird gothic prog of Jacula and Devil Doll. The way this stuff is layered together with the crunchy, metallic guitars and driving backbeat is just spot-on, man. It's really not at all what I was expecting at first; it's the best type of surprise. Heavy, funky, pseudo-Italian goodness, where Vrajitor breathes much power and magic into the eleven songs, laying down infectiously catchy hooks and a hard rock backbone alongside all of his spirited weirdness. Some righteous saxophone shows up on "Black Frog" next to delicious woodwinds in the background, more elegant acoustic strings on "Lucus Horribilem Atque Pestilentem" as it erupts into a kind of Blue Oyster Cult-meets-Goblin ecstasy; the album feels mostly instrumental, although those feminine vocals and some echoing, chant-like voices do pop up throughout the album. The keyboards get even more Claudio Simonetti-esque as it winds through the labyrinth of moody progressive rock, heavy, crunching riffs, and soaring dark melody, but Vrajitor succeeds in giving this its own unique character, nimbly avoiding being another retro-Goblin-influenced outfit and producing a full, sensual piece of music that (despite the obvious influences) stands on its own as an incredible and original slab of occult Italo-prog. Those Tardo Pede In Magian Versus-era Jacula and Antonius Rex influences are every bit as prominent as the other stuff as well , especially whenever Vrajitor lays on that heavy liturgical pipe organ. The sounds of bouzouki (again, shades of Goblin's Suspiria) and clarinet spread through many of the tracks. There's some great experimental atonality in a few tracks, particularly the pair of songs that close the album, "Exorcismus" and "Semper Victimas Vult ", which wrap it all up with Gregorian-style chanting and an air of an arcane ritual ceremony. Stunning production, too. This album fills the air around me, with all of its intricacies and nuances. I also can't get over how much sax action is happening here, too - the winding jazzy convulsions of "Volantes Castrum" are one of the best on E.N.L.D., especially when the horn segues into some straight-up heavy metal guitar heroics, killer shredding matched by the wild onslaught of chamber strings, piano and whooshing synth. And it is indeed very "funky", the drumming performance propelling the songs forward into huge, massive grooves, eve sliding into stuff like the quasi-disco delirium of "Sanitarium Son".

It's the ultimate in 70's style "spook-prog", free of any kind of retro-irony. I can't stop listening to this. If you're as into the aforementioned bands as well as stuff like Daemonia, Anima Morte, Morte Macabre, Giallos Flame, and even older stuff like Sacrifice-era Black Widow and Halloween -era Outsider , this seriously gets the highest possible recommendation from me.



NEW ADDITIONS


SORE THROAT  Disgrace To The Corpse Of Sid  CASSETTE   (Grind Today)   11.99
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The ludicrous height of "extreme" metal/punk madness. Now here's an album with an agenda: using an ultra low-fi performance and production style crossed with cut-up/sound collage aesthetics, belligerent humor bleeding out over the whole thing, and taking the sound of the late 80s UK grindcore / crustcore aesthetic and cramming into a woodchipper of goofiness, ultra-violence, anti-authoritarian and anti-capitalst rage, and uncontrollable experimental weirdness. Yep, the Sore Throat guys are still making fun of fellow extreme music outfits and Earache labelmates, making fun of the metal/hardcoe scene itself, unleashing more of their bizarre in-jokes that probably only make sense to the band and their circle of friends, capped off with some sincere assaults on civilizational decline, Cold War hyper-anxieties and Industrial-Military Complex fuckery, and the general forward momentum of total global oppression. All delivered with a smile.

My original 2010 review of the CD reissue version, updated and edited for this release:

Classic noisecore/grindnoize from the UK! Sore Throat were one of the craziest, fastest, noisiest bands on Earache Records back in the early days of the label, with members that would go on to play in other well known hardcore, doom and grind bands like Doom, Stalingrad, Solstice, Blood Sucking Feaks, and Lazarus Blackstar. But the band and their 1990 Lp Disgrace To The Corpse Of Sid was one of the most avant-garde things that the label had released at that point, a blistering assemblage of 101 "songs" that helped to plant the seed for the entire noisecore underground that would sprout up over the course of the 1990s. The entire beginning of Disgrace is a mad rush through haywire distorted chaos, the whole A-side of the album essentially jammed together into a single twenty-plus minute track, made up of ninety (!) "songs" of absurdly short fifteen-second blasts of mutant psychgrind / improvised noize violence that all sounds just as insane today as this stuff was back at the twilight of the 1980s. Like Seven Minutes Of Nausea, each "song" is a compacted blast of hyperspeed grind, the songs strung together in a stream of seemingly endless machinegun blastbeats combined with bizarre effects, psychotic vocals with extreme amounts of delay, blats of harsh industrial noise, fucked-up tape noise, garbled vokill gibberish, and cuckoo clocks. Cuckoo clocks! Ludicrous and over the top and total genius, with ridiculous snarky song titles ("Slam Of Buttocks", "Power Of Nuclear Kill Brain", "From Off License To Obliteration", "Anal Intelligence Apartheid", "In Grapple There Is No Law"), a non stop aural assault and a surrealistic vibe that has as much in common with early Boredoms as it does with the abrasive blastnoise of Anal Cunt and 7MON. The b-side of the record though is more straightforward crusty thrash like that of their earlier releases, mixing together the Amebix-esque tribal drumming and swirling distortion of "Pride", "Prisoner", and "The Enemy Within", the sludgy, almost Sabbathy bass-heavy crust of "Different Sides.. Of Same Coin" and the dismal chugging dirge of "Famine", faster detuned d-beat thrashers like "Chapel Of Ghouls", "Desire (Peniside)", "Truth", the quirky stop-start post-punk lurch of "Living Hell", and the goofy protest-folk tune "The Ballad Of 'Mad' Mickey", finally finishing with one final twenty-five second blast of psychedelic noise/grind "Hsarht Drawkoab" that will strip any remaining flesh straight off of your face.

In my opinion, Sore Throat never sounded as hellish and bizarre as they did here, a forty-minute spew of ceaseless barbarity and psychotronic experimentalism that achieves its aim of "destroying music". A portal into total sonic confusion and pandemonium.



PSYCHO  Complete Studio Recordings 1982-1986  2 x LP   (Welfare Records)   22.00
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GOATSNAKE  Black Age Blues  CD   (Southern Lord)   10.98
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Back in stock on CD and LP, the vinyl version with an additional two exclusive tracks.

Time flies. It's been fifteen years since the last Goatsnake album, though it feels like just yesterday that I was getting flattened by the titanic blues-doom heaviosity of Flower Of Disease. It's indeed been a decade and a half since the L.A. doom rock heavies dropped their modern masterpiece of American doom metal Flower Of Disease, with a long hiatus interrupted with brief spurts of activity between, but after all this time Goatsnake are back, and with a monstrous set of tunes that sounds like there's been no downtime at all. These guys are my favorite American doom metal outfit as a matter of fact, so to hear them return with a roar of triumph with the appropriately titled Black Age Blues remains one of the musical highlights of 2015 for myself; over the course of their previous two albums Goatsnake crafted some of the catchiest, heaviest Sabbathian music I've ever heard, like some monstrous, sludge-encrusted blend of The Cult and Sabbath, and that powerful sound is in full force on their comeback album. In Pete Stahl, Goatsnake boast one of the finest frontmen to ever swing the mic in a doom metal outfit, his powerful, soaring singing and weathered, Astbury-esque croon offers a perfect contrast with the soul-flattening Sabbath-on-steroids might of their music, and he sounds more world-weary than ever with these songs.

There's a poignancy to how the album opens, beginning with fading echoes of the song "The River" that ended Flower Of Disease, leaving no doubt that the band is picking up exactly where they left off fifteen years ago. And as they slide into the pulverizing elephantine crush of "Another River To Cross", it's as if no time has elapsed at all, the band's signature down-tuned doom rock as molten and menacing as it has ever sounded, and singer Stahl sounds utterly unweathered, his honeyed, soulful croon taking flight across the song's bluesy, slow-motion crawl. It's a hell of a comeback, displaying the same impeccable level of songwriting acumen as the previous album, syrupy yet bone-grinding guitar tone, the rhythm section swerves and swings expertly , laying down titanic grooves amid some sneaky off-kilter time signature changes and edgy, stuttering rhythms, while heightening some of their more unique influences, with elements of gospel, soul and southern blues all seeping into these songs; they break out the harmonica again on the massive Sabbathoid "Elevated Man" before careening through the garagey rocker while tossing off armloads of bludgeoning riff-grenades. On "Coffee & Whiskey", they hammer down on a mammoth gluey heaviness that would flatten the ugliest sludgecore outfit, but can follow it up with the rollicking biker-doom perfection of the title track, a slow-mo shimmy that's as ominous yet infectious as the saurian boogie of their last album. There's some great use of backing gospel-style vocals on "House Of The Moon", and "Jimi's Gone" is a skull-smashing blues-metal earworm that oozes around yet another massive magmatic hook and more of those terrific all-female backing R&B vocals from the trio Dem Preacher's Daughters. It's all so goddamn heavy, it's almost overwhelming, with Anderson dropping sledgehammer riffs that most metalcore bands would lose a limb for, while strafing you with his searing, asthmatic solos that lash out like barbed wire from the tarpit heart of these tracks, and yet still throws some new twists into their sound, everything a little more rhythmically complex than before, the tone darker and more sinister. A great goddamn comeback from these guys.


Track Samples:
Sample : GOATSNAKE-Black Age Blues
Sample : GOATSNAKE-Black Age Blues
Sample : GOATSNAKE-Black Age Blues


CRUCIAL BLAST  Psychotronic Catastrophism (EXTRA LARGE)  SHIRT   (Crucial Blast)   20.00
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For the twenty-fifth anniversary of CRUCIAL BLAST, we are stoked to present the first in a series of Crucial Blast shirts featuring brand-new commissioned art from our favorite visual artists. This design features the gnarly collage art of Cody Drasser, guitarist for the acclaimed New York prog-death outfit AFTERBIRTH; we've been longtime fans of Drasser and his music/art, with several releases from him in the C-Blast catalog..

The "Psychotronic Catastrophism" design is an accurate glimpse into the neurologic strategies behind the art, music, film, and literature that we release here at Crucial Blast. Issued in a limited printing, on black Gildan 100% cotton short sleeve t-shirt, two-color print, with the Crucial Blast sigil on the back of the shirt.



ESOTERIC  Epistemological Despondency (2023 DIGIBOOK REISSUE)  2 x CD   (Aesthetic Death)   19.99
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MYSTIFIER  Wicca (2021 REISSUE)  CASSETTE   (Nuclear War Now! Productions)   9.99
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BRAINBOMBS  Singles Collection II  2 x LP   (Armageddon)   29.99
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The latest 2017 reissue of this massive scum-punk collection.

Originally released on the French label Polly Maggoo back in 2007 as a double Cd (now long sold out), this formally-untitled collection of early sonic scum-assaults from these Swedish fiends is available once again, this time via the Armageddon Label who also brought us the most current edition of the 'bombs classic Obey, presented as a double Lp set limited to five hundred copies. An essential collection for anyone into the murderous punk-sludge that this outfit has been slinging for the past two decades; here's my old write-up of the original Cd release:

At long last, the collection of out of print Brainbombs singles and EPs that I've been jonesing for ever since I first heard their scumfuck masterpeice Obey! Actually, this is the Singles Collection II CD that was just released by the French label Polly Magoo, the followup to the first Brainbombs singles CD that is currently out of print. This is an equally essential anthology CD for any fans of these notorious Swedish noise punkers, gathering five different singles from 1998 through 2007 along with four never-before-released live jams from 1993. If you haven't already joined the cult, you gotta check them out if you're even remotely into the current skuzz-punk sounds of Clockcleaner, Violent Students, Homostupids, Burmese, and that ilk. Seriously. Aside from maybe Flipper, Brainbombs are the primo figureheads for violent, antisocial dirge. Brainbombs formed in 1987 in Hudiksvall, Sweden and spent the next two decades spreading their terminally reprobate, heavy-as-hell sludge punk, each of their songs usually consisting of just one monstrous riff that the band plays over and over, hammering it into the ground while their singer spews all manner of psychopathic, sexually transgressive ranting over the band's radioactive Stooges trudge in a deadpan sing-speak that sounds pretty funny at first, until you actually make out what he's saying and realize that this is pretty fucking deranged. And the music is so heavy, the riffs slow and sludgy and just evil sounding, with sinister trumpet blowing bleating over top, sending vile brass notes drifting over their droning, hypnotic noise rock, everything recorded raw and low fi and totally in the red, every instrument glazed in distortion, the drumming locking into a propulsive motorik beat. Utterly crushing genius, and one of the most crucial noise rock bands on the planet. This anthology focuses on the Brainbomb's later years, and includes the Macht (Gun couRt singles SEries) 7" from 1998, the Stigma Of The Ripper / Street Cleaner 7" on Tumult from 2003, The Grinder / Mommy Said 7" on Ken Rock from 2004, the I Need Speed 7" on Big Brothel from 2006, the Stinking Memory / Insects 7" on Anthem, and the live recordings of "Stacy", "Tired And Bloody", "Danny Was A Streetwhore", and "Urge To Kill" that were recorded in Oslo, Norway in 1993, all perfectly gnarly and noisy and raging.

Comes on black vinyl, and includes a double sided insert that includes the brief liner notes written by The Lamp's Monty Buckles that also appeared in the Cd version. Highly recommended.


Track Samples:
Sample : BRAINBOMBS-Singles Collection II
Sample : BRAINBOMBS-Singles Collection II
Sample : BRAINBOMBS-Singles Collection II


FRIZZI, FABIO  Zombie Flesh Eaters - Original Motion Picture Soundtrack  LP   (Beat Records)   48.99
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Track Samples:
Sample : Zombi 2 (Seq.8)
Sample : There Is No Matter
Sample : Zombi 2 (Seq.11)


SISSY SPACEK  Gong  CASSETTE   (Torn Light)   9.99
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For an audio / musical project that tends to have a baseline quality not that different from an exploding air conditioner, Sissy Spacek sure do seem to be one of the most verrsatile projects around at the moment. Still able to skullfuck you with an assault of hyperviolent noisegrind, the core duo of John Wiese and Charlie Mumma remain capable of bringing in a variety of collaborators, producing otherworldly musique concrete experiences, and releasing their recordings on labels as dispate as Nuclear War Now and Gilgongo. I love 'em for that mercurial wide-ranging experimentation. But as you might guess, my favorite type of Sissy Spacek is the type that sounds like an early grindcore band being sucked through a jet engine before splattering all over the tarmac. This, I cannot get enough of.

Here operating in basic duo mode, the musicians had me guessing for Gong. Had no idea what I was getting before slipping this recent cassette on deck. Abstract soundscape? Haters-esque concrete playfulness? Free improv? Something more extreme? Well, yes, in fact. The two sidelong tracks comprising Gong are meticulously assembled symphonies of spine-rattling junknoise, glitch, warped and moody musical fragments, damaged electronics, and some really superior blasts of tumbling, crashing metal/glass/detritus, demented garble, peals of metallic whirr, snippets of classical piano, smears of eerie, mold-stained orchestra . That a-side "The Entropy Effect" kind of hits the nail right on the head with the title, unfurling a lengthy sprawl of apparent random destruction events, bits of murked voice, really strange environmental sounds, blurts of demonic bass-tone abuse. Mysterious moments of ambiguous beauty surface like bloated corpses here and there, cast out alongside some obviously thoughtful tape-edit cut-up, and it never gets boring. Kinda tweaks a nerve in my upper back that's resonant with both Stockhausen and the factory-floor armageddons of Knurl, Hal Hutchinson and K2. Which points towards another aspect of Wiese and Mumma that I really dig - this sounds like the guys are genuinely having fun doing this, an exercise in both off-the-cuff avalanche chaos and mindful collage, skirting the sometimes dry and clinical tone that some other artists in this field seem to be hemmed in by. A celebration of collapse and disimntegration, or at least that's how this piece strikes me. Zero noisecore / grindnoise to be sure, so fans primarily interested in that facet of the Sissy Spacek sound take note. But man, it is still abrasive and cathartic as hell.

Flipping iover to "Pierced Ears", it's a continuation of the sound palette and indescerniable structures. Glitchy, chopped up cacophony, shifting metal objects and deep rumbling echoes, ghostly piano and mumbled utterances. Bizarre gasping sounds, pregnant pauses between collapsing monoliths of aluminum and shattered glass. Actually, there's an increasingly unsettling vibe here, seeded on the first track but germinating here into a vaguely menacing mass of aural actions. Starts to get pretty creepy once you've settled into its roughly fifteen minute runtime, field recordings of violent poltergeist activity positioned next to malfunctioning heavy machinery and some really wild tape-noise manipulations. Creaking materials and hushed male voices. Skittering percussion and gales of vomitous visceral gargle. Scaffolding being pushed over with great force into a pneumatic press. Gnarly squeaks, mechanical shrieks, and trippy application of delay effects. There's a little more of those ultra-brief flashes of silence here, but they only further the unease.

There aren't many artists like Sissy Spacek that can make "junk-noise" performances as engrossing as they do here, even though the stream of sonic consciousness captured on the tape definitely transcends the limitations of that style of experimental noise music.


Track Samples:
Sample : The Entropy Effect
Sample : Pierced Ears


ULCERATE  Everything Is Fire  CD   (Willowtip)   13.99
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INTEGRITY  Systems Overload (2022 Edition)  CD   (Relapse)   11.99
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Man, if you're an Integrity "die hard" and completist like myself, things have gotten a little crazy over the past decade in regards to releases and reissues of the older Integrity catalog. In addition to all of the assorted reissues and remix editions of 90s-era Integrity that came out over the past ten years on Organized Crime and Magic Bullet, now we have this intensive "reissue" campaign for the complete catalog being spearheaded by Integrity's current label Relapse. A couple of these "reissues" came out around 2022, and like the others (and the titles that just came out in 2023), this release is a "rework" of the original album, with a new mix and mastering and, sometimes, added instrumental performances, this version of Systems is a distinctly different beast than the original Victory release and the versions that came out on Magic Bullet. It can get a bit confusing, but I have my suspicions as to why the band (well, Dwid) is taking this strategy of "reworking" classic Integrity albums. And look, I'm not bitchin' about it; I worship the salted earth this band stands on, so I have zero compunction about owning each and every single version of this goddamn album in my collection. But just so it's clear, this is "Systems Overload 2022", the same songs, same track order, the same core music, but transformed into something slightly different, essentially another new vision of the album, much like the recent Relapse reissues of Those Who Fear Tomorrow and Humanity Is The Devil - you can really hear it on songs like "Salvations Malevolence [2022 Mix]" with the underlying Tom Warrior-esque vocals and psychedelic electronics whirring beneath the surface, for instance, or the amped-up noise-damaged hallucination of closer "Unveiled Tomorrows [2022 Mix]". The differences between this release and the previous editions of the Systems Overload album studio session are probably mostly only perceptible to someone (like me) that has listened to the original album more than a hundred times (which is no exaggeration), but the often subtle (and sometimes not) changes to the texture and topography of this album are definitely there, for what that's worth. Also, frankly, the new artwork that Dwid is producing for all of these reissues is fuckin’ fantastic, and often surpasses the original sleeve art.

OK, so here is my original write-up on the "original", "standard" release of Systems Overload, for the sake of clarity and posterity. Permit me to gush, if you will:

Back in the 90's, I was obsessed with the loose-knit circle of bands that were attached to the term "Holy Terror". Combining esoteric/occult concepts with a sound that took the most violent aspects of American hardcore punk and the searing Satanic thrash of Slayer and early death metal, the rather vague "Holy Terror" aesthetic started with Cleveland band Integrity, who reigned in the early 90s as masters of evil metallic hardcore. Signed to Victory Records in 1995, the band would release their second album Systems Overload to underground acclaim, even as the band's sound became even more confrontational and abrasive. The songs drew from a ferocious mixture of influenced, from noisy Japanese hardcore and Septic Death worship, to sinister post-punk and even extreme electronic elements, as well as the thrash metal, arcane religious visions, eschatological prophecy, and ongoing infatuation with Charles Manson and apocalypse cults that had fueled Integrity's music virtually from the start. Systems Overload is still one of the defining albums within the "Holy Terror' aesthetic, and its violently raw sound was totally unlike anything else the label had put out. It also became known almost universally as one of the best metallic hardcore albums of the 1990s.

Now as part of a recent spate of Integrity reissues, multiple versions of Systems Overload have surfaced, including both an alternate, band-approved mix of the album, and this, the original Victory release, now available on vinyl for the first time in years. As killer as the alternate "Orr+" mix of Systems Overload is, I still have a soft spot for the original album, and it certainly sounds vicious as hell here. Underneath the strange, evil vibe that coursed through Integrity's music, beneath the blown-out production and noisy edge, we're reminded of just how good this band was at writing memorable heavy songs. Later Integrity albums would veer into artier, more impenetrable directions, but at the time, Integrity wrote some of the catchiest, most powerful metallic hardcore songs, which sound just as relevant and powerful now, more than twenty years later. The original twelve songs on Systems were tied together with Aaron Melnick's weird bluesy guitar solos and Dwid's inimitable, gravel-throated howl, the album opening with the massive doom-laden crush and apocalyptic sample-collage of "Incarnate 365", one of the band's most recognizable riffs/intros, filled with squealing divebomb solos and monstrous metallic crush. From there the album tears through short blasts of blown-out thrash and crushing mid-paced metallic riffage, stomping hardcore fused to super-heavy guitars, songs like "No One" and "Armenian Persecution" a perfect fusion of sorrowful doom-laden heaviness and speed-fueled malevolent hardcore. It's one blast of memorable, malevolent aggression after another, laced with acoustic guitars and electronic noise, coming together as an essential album of dark, metallic hardcore.

So there you go. I positively adore the album Systems Overload. Ultra-violent, apocalyptic, esoteric, catchy as a motherfucker: this album permanently rewired my neural network. I'm cool with the tweaks. Whatever it takes to keep this music in print, and snatch it out of the control of greedy pop-punk mega-labels. If you don't own this album and you're into Integrity, this is an excellent edition to pick up.



ZOUO  Agony Remains (GRAY VINYL)  LP   (Relapse)   19.99
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COTTRELL, DORTHIA  Death Folk Country  CD   (Relapse)   11.99
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LARSON, GENEVIEVE RYOKO  Ecstasy  ART BOOK - SLIM   (Black Horizons)   5.98
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More graphic and provocative collage art from Black Horizons' "Black Bag" series, this one featuring work from the San Francisco-based artist Genevieve Ryoko Larson, who we had previously encountered in the label's Provocative Rituals II art zine. With this forty-page zine, Larson employs old-school Xerox-damaged collage techniques to combine explicitly sexual imagery, murky textures and seemingly random objects into odd new forms. Like other installments in this series, the artwork is reminiscent of what you would find on classic industrial and noise tape releases a la Masami Akita or COUM Transmission, often including fragments of graphic pornography that are juxtaposed with combinations of floral images, strange subjects pilfered from fashion journals, and abstract patterns. At their best, Larson's collages can be weirdly distressing.



BLUE SABBATH BLACK CHEER & IRR. APP. (EXT.)  DDTTNBX (W/ THE NEW BLOCKADERS)  CD   (Phage Tapes)   9.98
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DECOLLATION  Cursed Lands  12"   (The Crypt)   24.00
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Track Samples:
Sample : Point Of No Return
Sample : The Godborn
Sample : Cursed Lands


KORVEN, MARK  The Witch OST  LP   (Milan Records)   23.98
The Witch OST IS CURRENTLY UNAVAILABLE FOR ORDER












Track Samples:
Sample : 16. Standish
Sample : Follow the goat
Sample : Caleb's Death
Sample : The goat and the mayhem


TEMPERA, VINCENZO  Paganini Horror  LP   (Sub OST)   39.98
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NOCTE OBDUCTA  Galgendämmerung - Von Nebel, Blut Und Totgeburten  CD   (Metal Mind)   15.99
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Track Samples:
Sample : Galgendmmerung
Sample : Totgeburt
Sample : Nebel ber Den Urnenfeldern


CHRISTOPHER, ROY  Escape Philosophy  BOOK (TRADE PAPERBACK)   (Dead Letter Office (Punctum))   21.00
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HELVETE  A Journal Of Black Metal Theory: Issue 2 - With Head Downwards: Inversions In Black Metal  BOOK (TRADE PAPERBACK)   (Punctum Books)   30.00
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COSMIC PUTREFACTION  Crepuscular Dirge For The Blessed Ones  CD   (Profound Lore)   13.99
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JESUS PIECE  Only Self  CD   (Southern Lord)   11.98
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DOVE  Eight Letters / What Is Best In Life  7" VINYL   (Chunklet)   9.99
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A-side "Eight Letters" comes on friehgt-truck style, a flurry of bone-bashing drum rolls and gnarly distortion right before Dove quickly recombine into a fuckin' massive sludge-metal riff, somewhat akin to the early Sleep stuff but with that recognizeable bellowing vocal style that marked the early Floor releases. It's more churn than drone, a punchy chorus rising up and down out of the halting riffing, slamming your skull into the mulch for ahile before it disintegrates intp a wall of feedbak, out of which comes an unexpected pretty guitar melody. This tune really reminds me of the early, rougherr Floor stuff with its killer contrast between earthmover slo-mo power and gentle melody. The whole latter half od this song has an almost Codeine-like majesty to it, these guys some of the few musicians who were able to tap into that unioque style and feel. The ending of "Letters" is achingly beautiful, tapping into something strange, a nostlagic glow that wraps around you in a vast, fuzz-filled blanket of sound.

They go a little harder on the flip "What Is Best In Life", the title of which should resonate with any of you Conan-fanatics out there. It's more of a knuckledragger of Sabbathian-style minimalism and crushing downtuned angst - nothin' drowsy or doped-out with this, the guitars are set in comncrete, those awesome gang voccals howling over the slithering six-ton groove, while still winding some of those signature arpgeggiated chords around the calmer moments, combining chorus-drenched mega-crunch with that monumental melodic pull. Epic. It's a cosmic tragefy that these didn't bloom into an entire album.


Track Samples:
Sample : Eight Letters
Sample : What Is Best In Life


ALLIN, GG AND THE JABBERS  Out For Blood  7" VINYL   (TPOS)   7.99
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The latest edition of the original 1997 release, featuring the Jabbers-backed version of Allin's outfit. I'm pretty sure that the Jabbers were his first backing band (to be followed by the Scumfucs) and in any event, this gets you some relatively early recordings from the human time-bomb.

The first side has two cuts from a May '83 session at David Peel's Death House, with boombox-level sound quality that makes me feel like Allin is about to reach right through the speakers and cold-cock me. That shreddin' title anthem "Out For Blood" is a classic blast of atavistic hardcore punk that uses a hammering riff suspiciously similar to Venom's "Countess Bathory" (may the chicken n' egg speculations ensue...), fast four chord mayhem blazing at sicko tempos and rotten to the pulpy core; it's a key slice of early 80's Allin / Jabbers work that strips the mascara off your face as brutally as anything this particular incarnation of the band belted out. That's followed by four other songs of lo-fi violence that emit dangerous levels of radiation hatred and contempt; the Jabbers were a vicious crew, balancing right there on the edge between that older late 70s American punk melodicism and the clenched-fist barbarity of first wave Hardcore. "Sixty Nine" is more power-pop abandon, a big clanky Kinks-esque hook busted out of sloppy electric guitars and grubby grin stretching across that mangled mug.

The other side is all from 1982, starting with the one-two Hardcore punch of the apocalyptic fast-as-fuck "Nuclear Attack" and the primitive juiced-up caveman New Wave of "You’re Wrong, I'm Right", both from a Club Merrimack set in New Hamshire. The closer is the utterly silly "Fags In The Living Room", a puerile behind-the-scene dig at the legendary Rhode Island venue of the same name; it's a no-fi pop-goof recorded in GG's bedroom, basically his absurd dragged-out lyrics over a staccato guitar strum. Pretty dumb, but par for the course. It's soaked in the degradation and mindless violence I'm lookin' for with these releases, not to mention its historical significance.



ISATAII  Man Of Sin  CASSETTE   (Adirondack Black Mass)   7.99
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Track Samples:
Sample : Forgotten Forest
Sample : Terror Of The Antagonist
Sample : False Prophets


SPYROIDS  self-titled  7" VINYL   (SPHC)   6.99
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Well, this is pretty badass. It's quite the jump from the wonked-out psychedelic hardcore of the Coltranes, instead conjuring this killer mixture of buzzing synth-punk, repetitious rhythmi9s and slammin' kick drum patterns, weird vocals that blend together ghostly moans, monstrous groans, high-pitched elfen rhymes, and some nutty gibberish thrown in for good measure. The songs are short but hooky, the melodies sounding like sinister soundtrack music from an 80's-era direct-to-video horror movie, total creepazoid Empire Pictures casio-core, but with some additional hardcore-fueled energy, odd noises, and a general robotic menace lurking around every glitch, blip, and beat. I loved this; the EP has garnered some comparisons to the psychedelic industrial punk of Chrome, but these tunes are diving into darker shadows it seems. I can't wait to hear more Spyroid stuff, especially if it's going to maintain this whacky, aggro, atavisticm, menacing synth-punk vibe. Oh, and it gets weirder as you thumb through the inserts, newsletter and stickers included, which make reference to some obscure but terrifying local crime in their home base in Nebraska. Never forget the "Block Party Massacre"!



WHITEAKER, JIM  Night Feeder  BLU-RAY   (SRS Cinema (Sub Rosa))   24.99
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MANIFEST  Reunion Psyche  CD   (Shadowgraph)   11.99
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Rare and out-of-print disc from the killer Maryland label Shadowgraph, who was releasing cutting-edge black industrial and horror electronics before the sound became somewhat in vogue around 2010; other artists that were featured on the imprint's small but kick-ass roster included Aderlating, Gnaw Their Tongues, Welter In Thy Blood, and Aphelion. I worshipped this label. Reunion Psyche was the only album from this obscure outfit, a 2010 disc with seventeen songs of nightmarish ambience and bizarre electronic soundscapery. There is virtually no information on this artist anywhere online, aside from confirmation that Manifest was the work of Gokce Gokcen, a professional graphic designer who seems to have since disappeared from the digital realm. But this one album left behind for adventurous listeners delivers one weird trip through indefinable territory.

Opening up the case, it appears that there is some kind of MEDICAL?? narrative behind the album, but it's hard if not impossible to glean anything concrete from the track notes and morbid artwork.

For nearly an hour, Manifest begins to explore this very strange underworld with an initial blur of found sounds, random voices, moody violins, folky singing and atonal strings, early on creating this dreamy meandering soundscape of haunting feminine singsong, effects-warped samples and weird looping noises, deep rumbling drones and trippy sound-collage; both opener "I'm Home (Intro)" and "Coma" pull back a curtain on a bizarre folk-flecked post-industrial world that expands with each step and each new track we follow them on. Hideous bitcrunched noise and eruptive distortion suddenly rip apart that dreamlike state, "River Blindness (Onchocerciasis)" belching out an increasingly nightmarish mass of sound , those vocal and melodic elements from before getting wrecked and warped and blasted with some kind of terrible cosmic radiation. These parts of Reunion Psyche lead into fearful, oppressive states of being; it sounds like one of those voices from earlier is now ghasping for air as the gerinding distorted noise blasts out of its corroded lock-groove. All of the songs on the album are relatively short in length, so these detours and deviations happen fast: that gruesome noise is swept away by new, mewling voices and bizarre crackling textures, agonal loops of voice and electronics and sound weave together into a hallucinatory whole. On "My Deuced Mother", we're suddenly introduced to a berserk combination of death metal-esque guttural vocalizations and Nurse With Wound-like soundplay, miserable minor key piano notes clanking in the background - it's not the first "what the fuck" moment on the disc, but signals where things head into progressively weirder and more hellish environs. The aching ululating vocals and dread-filled synth-strings that follow evoke mystery and malevolence, "The Uncommon Birth (Meir Zahl Theme)" resembling a jarring muation of later Sutcliffe Jugend and Diamanda Galas, sorta. While the musical elements and the prominent main vocals and instrumental arrangements are fixed in the foreground, there is a constant backdrop of eerie whispers and distant shrieks, cut-up orgasmic voices and frightening environmental recordings, jammed radio signals and shifting metal, bird song and creaking wood, bestial grunts, garbled electronics, and smeasrsof backwards sound, room ambience and grotesque multi-voiced gyrations, tribal drums and insane incomprehensible incantations, blats of pitch-black synth vomit and what sounds like a Satanic gangbang, much of this sound and music occuring all the way out on the borders of your perception. The tracks blur together, the album pushing forward in increasingly abominable form; this thing seriously fucked me up when I listened to it in my dark office at 2 a.m. in the morning. Gave me the creeps.

After listening to Reunion Psyche a couple of times, it dawned on me that this music bears somewhat of a resemblance to the occulted noisescapes of Anthony Mangicapra's Hoor-paar-Kraat project. It bathes in a similar pool of fetid, obscene sound amalgamations and absurd contortions, the way that these pieces carefully wind their tentacles around you and then pull you inward to a more disquieting, at times horrifying, field of sound. by the time I'm in the midst of the demonic churn of"Porn", my nerves are permanently rattled. The scariest moments of irr. app. (ext.) are another possible reference point, or possibly what could result from a collaboration between Nurse With Wound and Gnaw Their Tongues, with their target endpoint being somewhere in the lower depths of Hell.

Yikes.

Even when Manifest finds a somewhat hypnotic, clabnking groove to slip into (like "Obsession"), you still hear all of these different things going on behind you and below you and around you that you can't quite make out but they sound potentially very hideous and unwelcome. It's a singular experience, for me at least. It wasn't until after I heard the entire album that I figured out how this fits alongside the label's other, blackened sonic nightmares. But it does. Uncomfortably so.

Released in digipak packaging in a limited edition of 260 copies.


Track Samples:
Sample : Porn
Sample : Reversed (Situs Inversus)
Sample : Obsession
Sample : My Deuced Mother


CATHEDRAL  The VIIth Coming  CD   (Secret Records)   11.99
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By the time 2002's The VIIth Coming rolled around, Cathedral had moved on from the stylistic experimentation of their first few titles and found themselves settled into a well-worn, well-earned sound and groove (and I mean groove) that is undoubtedly their own. Another killer cover piece done up by Dave Patchett who continues to evoke the phantasmal mysteries of Hieronymus Bosch's Garden Of Earthly Delights triptych better than any other living artist. A perfect visual accompaniment to what was developing into a more and more unique fusion of early Black Sabbath, Celtic Frost-level riffcrush, and British progressive rock (a la Uriah Heep). I'm no fair-weather fan of Cathedral, a perfectly happy man when I'm listening to these bellbottomed goons simply locking into that sweet, sweet neo-Sabbathian blues-groove and gnarly millennial psychedelia that they've mastered since Dorrian got the show rolling. It's rare if ever that you hear these guys dipping back into the excruciating, pioneering, ponderous heaviness of stuff like Forest Of Equilibrium, but I could care less. When they drop a riff, it hits like an ICBM. See opener "Phoenix Rising", which takes that peculiar mixture of 70's rock riffiness, mega-lurching doom metal, Dorrian's kind of off-key vocals, and titanic buildups that makes Cathedral what they are, and just flatten you with it. Stuff like that feels like a return to the rockslide heaviness of Forest Of Equilibrium. It's a beast of a disc, like most of their stuff approaching the hour-long mark, but I can't imagine them abbreviating any of these tunes; when a riff hits that right groove, it’s bulldozer time, and they can keep going with it for as long as they want. Again, I'm a sucker for all of their stuff in its different guises, so I'm just stoked to be able to soak into a whole ten songs of this roiling low-end acid-metal.

On their seventh album (natch) you get some more upbeat stuff like "Resisting The Ghost", "Iconoclast"'s iron-clad death n' roll chugathon (and incredible bass tone, Christ), and the rampaging "Nocturnal Fist" that pulls out some vintage NWOBHM and even a smattering of old punk energy, alongside proggier sludgewaves such as the absurdly demolishing "Skullflower" (which I can't help but wonder if it's a reference to our favorite UK guitar psych-noise obliterator), the classical-guitar and mellotron tinged "Aphrodite’s Winter", "The Empty Mirror"' and "Black Robed Avenger" both offering anguish-filled ultra-doom and evolution into masterful Sabb'ed out power-groove and magisterial finales, that completely warped glue-storm "Halo Of Fire" that ends the album in a blizzard of dried amanita muscaria, the music often launching into some more soulful signing alongside those gritty signature growls and some slightly more offbeat, almost Tom Warrior-esque groaning (and occasional oughs). These songs open up into some brief but blazing vistas of winding lead guitar and howling feedback and bleary-eyed sun-blasted trippiness. The Iommi-esque slo-mo crush on that former song in particular really grinds my spine down, and there's a number of similar passages scattered throughout VIIth Coming, primo eruptions of dark and glacial trad-doom riffage fused to the spacey structures of Cathedral''s songwriting. It's also an overall more ecstatic affair than the glum trudge of contemporaries Electric Wizard, I can hear the band having fun even as they tear down mountains. Ancient Western mythology, 20th century magick, folk horror, crustpunk aggression, Aleister Crowley / Thelema, all subjects tinkered with throughout. Adding to the dozy, lysergic vibe, the aforementioned mellotron and electronic keyboard accompaniment is right up front and scratches more than one itch, especially when the music weaves those keys around some of the quirkier riffwork and bass-driven instrumental passages; there's long been a British space-rock influence behind Cathedral's crunch, but this album feels like it fleshes that stuff out a little more than usual, with some of those electronic voices rippling a little further into the past, at least mid-80s era synthwork and choral-like pads that feel a little archaic (in the best way possible).

Ugh. It's all so HEAVY. The guitar tone, that gutchurner bass sound, Dorrian's dazed snarl, the myriad gravitational time changes, oh man. My only real criticism is that some of these songs seem too rushed, ending too early, but again this is a nearly hour long album - something's gotta give. But it's gargantuan apocalyptic boogie for days, man.

This new 2021 UK import CD reissue comes in a gatefold digi-sleeve with foldout poster insert.


Track Samples:
Sample : Resisting the Ghost
Sample : The Empty Mirror
Sample : Congregation of Sorcerers


FIELDS OF THE NEPHILIM  Fallen  LP   (Let Them Eat Vinyl)   32.00
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Track Samples:
Sample : From the Fire
Sample : Darkcell AD
Sample : Subsanity


SUFFER, LITTLE CHILDREN  (1983)  DVD   (Severin / Intervision)   17.99
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POISON RUIN  Harvest  CD   (Relapse)   11.99
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WALKING CORPSES, THE  All Safe And Dead  LP   (Fuck Yoga)   14.99
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Delivering a kind of brutalist and industrial-damaged post-punk, this outfit put out this album, the latest as of this writing, in 2020. And it's a bruiser. Made up of members of Teenage Panzerkorps and Diat, these guys weirdly flew under just about everyone's radar aside from Fuck Yoga, surprising since this kind of sledgehammer post-punk has seen a real revival in the past few years, bands invoking the muscular crud of early Swans, Brainbombs, Birthday Party, and Flipper all over the place. At least, it seems rthat way to me. The point is, if that general field of racket is your thibng, The Walking Korpses blast it out at a high level of aggression and apocalypticim. An eruption of driving, booming bass guitar lines that sound like Peter Hook on stims is paired with shearing guitar noise, frenetic drumming, and maddened yowling batjhed in echo. Pretty rippin', and "Mental Equipment" sets the mood for the following six songs that blare violently off the grooves, "Perpetual Lent", _____ all tearing it up whil;e the guitars are shredded and molested, the drummer gluing it all together with a neck-snapping , quickstep backbeat, and those layered vocals ragel and echo and shimmer in the polluted air, vicious screams and an intense and soulful, almost bluesy howl smashing into a vaguely Peter Muphy-esque groan all happening at once.

Other songs like "Let's Trade Dogs" and "Coast;and" slow it down to a barbaric trudge, here evoking that Flipper / Kilslug / Birthday Party-esque dirge-punk ruckus that I'm totally hooked on. Again the songs plow forward with that bone-rattling bass guitar driving the band to higher and hiogher heights of anxiety. As far as the guitars go, it's a goddamn cacophony; high-end skree and scraped strings No Wave-y screech melting into weird insectile drones and blown-out leads. It's noisy as fuck, but also catchy as fuck, this hammering, anguished aggression being folded together in everuy song to become some kind of panic-attack anthem. It's a lot more minimal and compact songwriting-wise than I realized at first, as well. It starts to become apparent that each song is primarily made up of a single three or four chord riff at the foundation, surrounded by all that vocal and noisy abrasion, the crazed energy making it all feel much more complex and textured. The lumbering glue-huffing stomp of the last song "Ghost Trees" ends up whipping all of this around into the heaviest and hookiest song on the album, a near-perfect five minute storm of mutated and borderline psychedelic punk lurch and what feels like a kind of stream-of-consciousness emotional disintegration. So good.
.

Proto-noise rock junkies and anyone hooked on that abrasive hardcore/pigfuck combo that a lot of the bands on Iron Lung Records emanate, take note. These guys shred.

Limited pressing of 300 copies.



CULTIC  Seducer (Expanded Edition) (LARGE)  SHIRT + CASSETTE BUNDLE   (Crucial Blast)   28.00
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Dark Dungeon Metal Overdrive!

Man, I was immediately obsessed with Cultic as soon as I heard 'em; their 2019 debut album High Command stomped me into the dirt with its visions of dark epic fantasy and primal death/doom. That album demonstrated Cultic's sure hand at grinding you into dust, their sound grounded in a fetid mixture of classic 1980s heavy metal, primitive death metal, Hellhammer / Celtic Frost, and a smattering of barbaric hardcore punk. But that pummeling style was elevated by its use of electronics, weird effects and post-industrial elements, turning their already sufficiently crushing and filthy death churn into something stranger, spacier, more otherworldly, perfectly encapsulating the feel and atmosphere that emanates from the band's stunning original artwork (from drummer Rebecca Magar, a talented visual artist and the force behind the art/design house Wailing Wizard). Fiery dragons and clashing medieval armies, eldritch monoliths and sinister sorcery - Cultic's album art evoked everything that I loved about the darker fantasy novels I read in my youth, backed by atomic hammer riffs, scowling vocals, vintage synthesizers, and dark martial bombast. That album and its 2022 follow-up Of Fire and Sorcery (both released on the band's own Eleventh Key label) featured a raw assault of vaguely psychedelic mid-paced Morbid Tales-damaged deathsludge, and from the early demos through to the latest album, Cultic has followed a contorted upward trajectory into ever-heavier, more down tuned riff-laden primacy.

In 2023, the band released the two-song Seducer EP through Eleventh Key. With new bassist Andrew Harris (also of Baltimore trad doom heavyweights Alms) joining the husband-and-wife team of Brian (vocals / guitar) and Rebecca (drums) Magar, these guys sounded more embittered, lustful, and just plain violent than ever. Ancient synths and gorgeous dark ambience, ethereal female vocals, and mesmeric dungeon industrial starts off the title track, then pulls the rug out from under you as the trio lunge out of the shadows with one of their heaviest riffs ever. The awesome screams and mocking, acid-tinged roars melt into the atavistic spaced-out doom-death as "Seducer" lumbers through more of those killer Moogy electronics and weird effects. It's ridiculously heavy in spite off all the bizarre hallucinatory audio swirling around. Then "Seduced" bathes you in eve more lush, grim keyboard sounds, the most kosmische kind of dungeon synth bliss, and once again the band scatters that bleary ether when they drop into another fucking scuzzy, spine-bending hunk of slo-mo death metal . It's terrific. These two songs have better production than previous recordings, while maintaining their raw, caustic filthiness. If these two tracks are indicative of what Cultic's next album is going to be like, god help us.

This expanded version of the band's Seducer EP includes the early demo version of "Seduced" which has its own alternate electronic charms, and reveals a much more primitive, caveman vision of that song. Like hearing early Cathedral jamming in some rickety, oil-stained garage, soused out of their gourds on dextromethorphan. It's rad. On the B-side, this release features several bonus tracks: first is the two-song Prowler demo from 2017, recorded when the band was just the original duo of Brian and Rebecca. Their first-ever recording, previously released on a now out-of-print CDR, Prowler sounds fully formed, just more raw and low-fi, and without the electronic elements that would later develop into their current sound. These two songs are crushers, "Cruel Orders" and "The Prowler" delivering those signature dark fantasy lyrics, trippy grunting vocals, and knuckle-dragging doom-death. In addition, the EP is rounded out by a feral 2018 live recording of "Conqueror" that unleashes the band's full war-wrath, and circles back around with a killer live 2019 recording of "Seducer" that's stripped down to its bulldozing basics.

Nearly forty minutes of primo gargantuan Gamma World barbarian death metal. So for an "EP", this Crucial Blast reissue crams in the goods. It's also beautifully designed by the band themselves: Seducer boasts more of Rebecca's striking, Frazetta-esque artwork, which perfectly captures the carnal violence of this music. It's one of the coolest looking tapes we've put out over here yet. I can't express how stoked I am to be working with this band, as I've been a longtime fan of the couple's work, both Rebecca's fantastic art and Brian's previous musical dark arts in the ritual black ambient / doom-drone outfits The Owls Are Not What They Seem and Layr. Can't recommend this band enough.


The release of the expanded Seducer EP on holy analog tape is further celebrated by this bitchin' brand-new Cultic shirt design, created specifically for this release. Featuring what might be my favorite Rebecca Magar art yet, the wicked three-color "Whip Seduction" shirt is printed by Forest Passage Printing on black Gildan 100% cotton garments, front print only.


This item combines the Cultic Seducer (Expanded Edition) Cassette with the "Whip Seduction" shirt, shipped together. This item will begin shipping the week of February 9th, 2024.


Track Samples:
Sample : Seducer
Sample : Seduced
Sample : The Conqueror (Live)


TRIUMPH OF DEATH  Resurrection Of The Flesh (Triumph Of Death Live, 2023)  2 x LP   (Noise)   39.99
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PITCH SHIFTER  Desensitized  CASSETTE   (Earache)   9.99
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SORE THROAT  Never Mind the Napalm Here's Sore Throat  CASSETTE   (Grind Today)   11.99
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In 1989, the same year they released their iconic sophomore album Disgrace To The Corpse Of Sid on Earache records, Sore Throat would immediately follow that with another album, Never Mind The Napalm Here's Sore Throat on another UK label Manic Ears Records, where they would immediately begin trashing Earache label boss Digby Pearson alongside a host of other targets (including their momentary labelmates Napalm Death, whom are referenced in the cheeky album title as well as songs like "Can You Dig It"). Taking the title and sleeve design from the legendary Sex Pistols album, this continued in their weirder, goofier direction that Sore Throat took on their one and only Earache release, blending brutal crustcore and five-second noisecore microblast with weird effects, insane comedy bits, unexpected musical backing, and an even more emboldened "fuck 'em all" attitude than ever before. It's a noisecore classic, as well as one of the weirdest albums to ever come out of that late 1980s UK extreme music underground; much like their previous stuff, this is loaded with bizarre, inscrutable in-jokes, a completely wonky sense of humor, and an experimental freedom that frequently veered way off what listeners at the time would have been expecting from an "extreme" hardcore/grindcore album. It's as much a prank on the audience as it ios on ther targets of their ire, but the twenty-songs (in just shy of twenty minutes) also tackle the various current affairs that enraged 'em; a vicious anti-authoritarian streak runs through the whole thing, with plenty of songs blasting authority figures, fascist ideologies, technological control systems, and environmental collapse.

All of these different facets of Sore Throat's worldview collide into a supremely obnoxious sonic stew that materialize as outraged political statements, Cold War anxieties, blistering metallic hardcore fueled by brutalalizing Discharge-style drumming ("Something That Never Was", "Man's Hate", "Channel Zero Reality", "We'll March Against The Nazis"), inhuman guttural roars and high-pitched shrieking, absolutely mangled guitar noise and near-shapeless hyper-distorted "riffs", bulldozing bass sound, outrageous sound effects, whiplash shifts into melodic punk or slower, trippier passages, hyper-pissed denouncements of capitalist exploitation, and brief detours into steamrolling slo-mo heaviosity. There is a cover of Hawkwind's "Silver Machines" retitled ""Silver Kerching", and even though it's another one of their more comical spoofs (complete with totally ridiculous falsetto backing vocals and a generally cartoonish approach), it still sounds like a complete banger. Their animlaistic shrieks and growls are backed by a mournful classical piano piece on "The Snowman", and the very end of the album descends into aural madness with the insane noisecore / cut-up of "Eric Pickles Is A Fat Tory Bastard", followed with the out-of-control experimental noise / libel of closer "Dig Is A Fat Capitalist Cunt". These guys clearly did not give a fuck.

The riffs are crushing, making up some of the heaviest stuff that Sore Throat ever did at the time

Even though there's actually a lot less "noisecore" on this one compared to Disgrace and it has a comparatively thicker, more coherent production, it's still another essential noisecore album, and you hear the echoes of Never Mind The Napalm all across the following decades of extreme hardcore, crust, noise-punk, and grindcore.



INCANTATION  Diabolical Conquest (REISSUE)  CD   (Relapse)   11.99
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GOATSNAKE  Black Age Blues  2 x LP   (Southern Lord)   22.99
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Back in stock on CD and LP, the vinyl version with an additional two exclusive tracks.

Time flies. It's been fifteen years since the last Goatsnake album, though it feels like just yesterday that I was getting flattened by the titanic blues-doom heaviosity of Flower Of Disease. It's indeed been a decade and a half since the L.A. doom rock heavies dropped their modern masterpiece of American doom metal Flower Of Disease, with a long hiatus interrupted with brief spurts of activity between, but after all this time Goatsnake are back, and with a monstrous set of tunes that sounds like there's been no downtime at all. These guys are my favorite American doom metal outfit as a matter of fact, so to hear them return with a roar of triumph with the appropriately titled Black Age Blues remains one of the musical highlights of 2015 for myself; over the course of their previous two albums Goatsnake crafted some of the catchiest, heaviest Sabbathian music I've ever heard, like some monstrous, sludge-encrusted blend of The Cult and Sabbath, and that powerful sound is in full force on their comeback album. In Pete Stahl, Goatsnake boast one of the finest frontmen to ever swing the mic in a doom metal outfit, his powerful, soaring singing and weathered, Astbury-esque croon offers a perfect contrast with the soul-flattening Sabbath-on-steroids might of their music, and he sounds more world-weary than ever with these songs.

There's a poignancy to how the album opens, beginning with fading echoes of the song "The River" that ended Flower Of Disease, leaving no doubt that the band is picking up exactly where they left off fifteen years ago. And as they slide into the pulverizing elephantine crush of "Another River To Cross", it's as if no time has elapsed at all, the band's signature downtuned doom rock as molten and menacing as it has ever sounded, and singer Stahl sounds utterly unweathered, his honeyed, soulful croon taking flight across the song's bluesy, slow-motion crawl. It's a hell of a comeback, displaying the same impeccable level of songwriting acumen as the previous album, syrupy yet bone-grinding guitar tone, the rhythm section swerves and swings expertly , laying down titanic grooves amid some sneaky off-kilter time signature changes and edgy, stuttering rhythms, while heightening some of their more unique influences, with elements of gospel, soul and southern blues all seeping into these songs; they break out the harmonica again on the massive Sabbathoid "Elevated Man" before careening through the garagey rocker while tossing off armloads of bludgeoning riff-grenades. On "Coffee & Whiskey", they hammer down on a mammoth gluey heaviness that would flatten the ugliest sludgecore outfit, but can follow it up with the rollicking biker-doom perfection of the title track, a slow-mo shimmy that's as ominous yet infectious as the saurian boogie of their last album. There's some great use of backing gospel-style vocals on "House Of The Moon", and "Jimi's Gone" is a skull-smashing blues-metal earworm that oozes around yet another massive magmatic hook and more of those terrific all-female backing R&B vocals from the trio Dem Preacher's Daughters. It's all so goddamn heavy, it's almost overwhelming, with Anderson dropping sledgehammer riffs that most metalcore bands would lose a limb for, while strafing you with his searing, asthmatic solos that lash out like barbed wire from the tarpit heart of these tracks, and yet still throws some new twists into their sound, everything a little more rhythmically complex than before, the tone darker and more sinister. A great goddamn comeback from these guys.


Track Samples:
Sample : GOATSNAKE-Black Age Blues
Sample : GOATSNAKE-Black Age Blues
Sample : GOATSNAKE-Black Age Blues


CRUCIAL BLAST  Psychotronic Catastrophism (XXL)  SHIRT   (Crucial Blast)   22.00
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For the twenty-fifth anniversary of CRUCIAL BLAST, we are stoked to present the first in a series of Crucial Blast shirts featuring brand-new commissioned art from our favorite visual artists. This design features the gnarly collage art of Cody Drasser, guitarist for the acclaimed New York prog-death outfit AFTERBIRTH; we've been longtime fans of Drasser and his music/art, with several releases from him in the C-Blast catalog..

The "Psychotronic Catastrophism" design is an accurate glimpse into the neurologic strategies behind the art, music, film, and literature that we release here at Crucial Blast. Issued in a limited printing, on black Gildan 100% cotton short sleeve t-shirt, two-color print, with the Crucial Blast sigil on the back of the shirt.



PALLBEARER  Sorrow And Extinction (2020 BLACK VINYL)  2 x LP   (20 Buck Spin)   28.99
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Just released as a limited-edition gatefold double Lp by 20 Buck Spin, and also back in stock on CD via Profound Lore...

A lot of ears were turned on to the Alabama-based doom metal band Pallbearer back in 2010 when the band released their demo, a three-song dose of epic doom that included a cover of "Szomorú Vasárnap" ("Gloomy Sunday") by Hungarian composer Rezső Seress. That demo had people comparing Pallbearer to such titans of epic doom as Candlemass and Warning, and the praise was well-deserved; Pallbearer were capable of crafting immensely heavy music with catchy, moving hooks and amazing vocal melodies and displayed incredible songwriting chops. Everyone who loved that demo had been anxiously awaiting their first album, and Sorrow And Extinction lived up to all of the expectations and then some, appearing earlier this year on Profound Lore and delivering one of the best doom metal experiences in recent memory.

When the album opens, we are greeted by softly strummed acoustic guitar that creaks and scrapes beneath the fingers of the player, a sorrowful and fragile melody that feels almost funereal even as a bluesy twang enters into it, but when the full band finally drops in after a few minutes, you're blown back by the force of their majestic slow-mo metal. That first song "Foreigner" sets up the feel of the rest of the album, presenting a traditional doom metal sound with a unique melodic style that'll stick these songs in your skull for a quite awhile. The likes of Candlemass, Warning and Solitude Aeturnus are clearly an influence on Pallbearer's brand of doom, but the vocal melodies and hooks sound totally unique in the hands of frontman Brett Campbell, whose voice is a perfect mix of soulful emotion and dourness, drifting over Pallbearer's tectonic metal using multi-part harmonies to add a powerful, almost anthemic feel to their choruses. There's a couple of spots on that first song where they sound like a doom-metal version of a Kansas song, and it's pretty goddamn fantastic. No slouching on the heaviness, either; the riffs on this album are armored in lead, massive molten Sabbathian hooks crushing everything underfoot, with just the right amount of "swing" without taking anything away from the mournful, terminally downcast vibe of their music.

These guys are continuously compared to Yob due to the distinctive vocals and the sheer skull-caving heaviness, but Pallbearer sounds much more "classical" than their label-mates, infecting their old-school approach with slight hints of progressive rock and funereal psychedelia to produce what might be the doom album of 2012. Highly recommended!


Track Samples:
Sample : PALLBEARER-Sorrow And Extinction (2020 BLACK VINYL)
Sample : PALLBEARER-Sorrow And Extinction (2020 BLACK VINYL)
Sample : PALLBEARER-Sorrow And Extinction (2020 BLACK VINYL)


NEUROSIS  The Word As Law  CD   (Neurot)   14.98
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CORPOPARASSITA / DYSKINESIA  split  CD   (Frohike Records)   10.99
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Of all of the stuff that I've recently picked up and written up for the C-Blast catalog, this limited-edition Italian import has the weirdest handmade packaging of 'em all. Limited to three hundred copies (the effort behind assembling all of these was probably pretty considerable!), the disc is affixed to a plastic CD hub attacked to a small panel of corkboard, glued to a larger panel of hardened and recycled paper pulp, a hand-numbered insert also attached to the panel, the whole thing housed in a grey cloth bag with silk-screened purple line art of strange alien forms. It's really striking in its design. Both of the featured bands on this split hail from the Italian post-industrial / experimental metal underground, with each of these bands standing in stark contrast to the other, style-wise. The music from both is intertwined, with the music from death-droners Corpoparassita alternating with the blown-out noise-sludge of Dyskinesia. It's a pretty rad pairing, the music of each band complimenting the other, producing a dark and apocalyptic union. Feels like less of a "split" and more a collaboration, with the sub-sonic dark ambient of Corpoparassita effectively serving as parenthesis and interlude for the gigantic slow-motion heaviness of Dyskinesia.

Crawling out of a cloud of creepy samples and deep, rumbling drone, the three Corpoparassita songs are pulsating masses of putrescent plasma, electrified hum lashed to vast tectonic reverberations, combining elements of the heaviest dark ambient with a clinical, Slaughter Productions-esque feel. These tracks ("Concetto Falsificato Di Dio", "Cruentatio", and "Purgare La Roba Infetta E Sospetta") evoke the massive emanations of deep, radiation-drenched drift a la the likes of Herbst9, Beyond Sensory Experience, Inade, Phelios and the most shapeless ambient moments of Nordvargr's work. Limitless, stygian blackness that makes me feel as if I am plummeting in time-delay down through a bottomless fissure in the earth. It all sounds so huge and oppressive and empyreal, and sometimes stunning in its bleak, catastrophic beauty.

The alternating pair of Dyskinesia tracks are pulverizing, even more so because of the surrounding ambient tracks. The first of these songs is made up of grinding, over-modulated guitars, hypnotic glacial riffing, earthmoving percussive force, and awesome distant vocalizations, this stuff sometimes resembles a more chaotic The Angelic Process, painfully, torturously slow as the other instruments churn themselves into a wall of distorted noise, a simple, two-chord riff underscoring everything. Those bawling vocals are primal and wordless: howling, aching emissions from a field of extreme emotion, part anguish, part exultant. A vast, slightly shoegazey presence surrounds all of this. The droning, minimalist, ultra-heavy sludge collapsing into huge tangles of roaring sound as the instruments all dissolve beneath their combined weight. But the second one gets even more blurry and smeared, only hints of percussion and guitar swirling in this black soup of improvisational skree and rumble, still fucking heavy, but now completely imploded, a ruin of cosmic doom-metal elements scattered to the solar winds, hints of krautrock-ish clatter deep underneath all of the crustal movement. Ultimately building to a monumental wall of wall-rattling rumble, flecked with smatterings of freeform cymbal work and percussive patter, squealing tape noise and howling feedback, meandering bits of psychedelic guitar, star-eating electronics and wretched synthesizer noodling, remote vocals ululating in ecstasy, and an overload of effects pedal trippiness that pushes the whole thing out beyond the edges of the void. Wow.


Track Samples:
Sample : CORPOPARASSITA / DYSKINESIA-split
Sample : CORPOPARASSITA / DYSKINESIA-split


NUCLEAR DEATH  Bride Of Insect + Demos  CD   (Dark Symphonies)   12.98
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Finally, we get some high-quality CD reissues of the early Nuclear Death discography, featuring the same material featured in that massive four-LP boxset that came out a couple of years ago, spread out across two CD releases from the recently revived Dark Symphonies imprint. These discs are a marked improvement over the previous CD reissues that came out in the early 2000s, now pairing up the albums with additional demo material that further fleshes out each pustulent period of Nuclear Death's evolution into the psychedelic vomit gods we know and love. And man, this stuff still sounds as extreme as ever. Coming out of Phoenix, Arizona in the late 80s, Nuclear Death stood out in the burgeoning extreme metal underground with a twenty-something girl named Lori Bravo on vocals and bass who sounded like hell unleashed, her voice swooping from monstrous guttural growls to bizarre wordless vocalizations to killer falsetto screams. Backed by drummer Joel Whitfield and guitarist Phil Hampson, Bravo led the band through an inchoate nightmare of grinding, ultra-noisy death metal that started off as a more thrash-influenced sound, but which had evolved into one of the weirdest death/grind bands of its era by the release of their legendary 1991 album Carrion For Worm.

I still remember when I first saw the ad for Nuclear Death's Bride Of Insect when it appeared in a 1990 issue of Metal Maniacs, I could barely take my eyes off of the grotesque hand-drawn artwork depicting a clan of irradiated abominations surrounding a withered hag licking the slop off of some mutant infant, a huge skull-faced spider-like monstrosity hovering over them. The band name and that artwork suggested that Bride held sublime sonic horrors, and I couldn't wait to get my hands on it. The album's twelve songs featured a slightly less chaotic version of Nuclear Death's psychotic bestial death metal, but this stuff was (and is) still plenty bizarre, the songs whipped up in a nail-studded whirlwind of sloppy blastbeats and murky riffs, the songs spinning off in weird off-kilter anti-grooves and angular breakdowns, while Lori's awesome, seething vocals echo through the band's cyclonic violence, with some subversively catchy hooks lodged like stray bits of bone matter in these chunks of blackened grind. Tracks like "Necrobestiality", "Feral Viscera", "The Misshapen Horror" and the title track continue to evoke the band's unique nightmare visions of rotting bodies fused together in dripping carnal combinations, mutant birth-sacs and surreal sexual depravations dredged from the deepest recesses of the human psyche. The combination of ripping thrash riffs, Scum-level chaos, and sludgy discordant death metal is intense to say the least, but compared to the delirious sonic vomit that would follow, this is probably their most straightforward work.

In addition to the album, this new CD reissue also features the Wake Me When I'm Dead and Welcome To The Minds Of The Morbid demos. 1986's Wake Me When I'm Dead was the band's first recording, and it features five tracks of thrashing cavernous evil that has more of a traditional thrash metal sound than their later stuff, though these tracks still have that signature unhinged quality that infects all of Nuclear Death's material. The same goes for the Welcome To The Minds Of The Morbid demo that followed the next year, which has a number of songs that would be later re-recorded on their debut album; you can really start to hear the band growing more maniacal on this demo, though, as the thrash metal riffs and the drumming are continuously pushed into the extremes, the band striving for ever faster, ever more violent velocity, with songs like "Cremation" and "The Third Antichrist" delivering some amazing blasts of chaotic grind, and some weird touches like the robotic devil-vocals on "A Dark Country".

An essential collection of some of the most chaotic, brain-scrambling and utterly filthy extreme metal ever unleashed, this also includes the original album layout and artwork, and comes with a twelve-page booklet with lyrics, flyer art, band photos and new liner notes from Michele Toscan from Nuclear Abominations and Lori Bravo.



ABYSSAL  Antikatastaseis  CD   (Profound Lore)   13.98
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Oh man, did I love Abyssal's Novit Enim Dominus Qui Sunt Eius. The secretive British blackened death metal band's second album (and first for Profound Lore) delivered a surreal, swirling mass of sound that I described as falling in some weird, warped chasm in between the cacophonic murk of bands like Portal, Impetuous Ritual, Antediluvian and Mitochondrion, and the hallucinatory, experimental quality of some of Blut Aus Nord's material. Well, we're still adrift in that same black sea of dissonant heaviness, but Abyssal's songwriting has evolved considerably since that previous album. Antikatastaseis sucked me into it's yawning black gulfs as soon as I hit play, the blasting violence of "I Am The Alpha And The Omega" swarming over the listener as a mass of brutal scattershot blast beats that break apart into that fractured Incantational undertow that is a hallmark of Abyssal's sound, the song lurching through some disorienting time signature changes and stuttering blast-attacks even as the churning atonal riffs drown in down tuned distortion and evolve into surprisingly affecting melody; the latter half of this opening track alone is one of the most intense pieces of death metal I've heard lately, shifting from a thunderous climax into a stunning vapor-trail of achingly beautiful gothic organ.

And from there it moves into the sound of tribal drums and monstrous chanting, but demented and delirious and possessed of a strange, almost industrial-tinged atmosphere, before abruptly exploding into a vicious atonal assault, crushing heaviness spiked with that dissonant guitar sound, weaving fast and erratic through that spluttering but crushing rhythmic chaos. And once again it finds its way into passages of soaring melodic power, a recurring theme throughout Antikatastaseis, the music moving through breathtaking widescreen melodic majesty, but also rife with moments where Abyssal's black churn downshifts into a titanic doom-laden riff, and it's pulverizing in its heaviness; but there's also a lot of space, places where that violent blasting pulls apart into intense minimalist drone and stretches of light-devouring, jet-black ambience, parts where it sounds more like Shinjuku Thief than death metal, and delicate melodies creep from the depths in the quietest moments, like the tinny music-box melody that haunts the middle of "Veil Of Transcendence", continuing to play even as the band roars back in with their bulldozing deathchurn and blasting, that tiny melody repeating eerily throughout the entire rest of the song in spite of the crazed sonic violence that surrounds it, until it finally synchs with another utterly triumphant riff to powerful effect. Plenty of contemporary death/black metal outfits incorporate abstract soundscapery in their work to varying success, but Abyssal's rumbling drones and warped black ambience seamlessly integrates with the contorted doom-laden heaviness, or the propulsive progginess of "Chrysalis", or the climactic wall of sound of "Delere Auctorem Rerum Ut Universum Infinitum Noscas" that starts off as an almost Penderecki-esque wash of terrifying dissonance but transforms into a brutal, segmented deathblast. A kind of epic, blackened prog-death steeped in existential horror and executed with exquisite craftsmanship, gleaming with moments of striking majesty, and capped off with awesome cover art that perfectly evokes the lightless oceanic gulfs traversed in Abyssal's music.


Track Samples:
Sample : ABYSSAL-Antikatastaseis
Sample : ABYSSAL-Antikatastaseis
Sample : ABYSSAL-Antikatastaseis


BRAINBOMBS  Obey (2017 Reissue)  LP   (Armageddon)   15.99
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Back in print on vinyl via Armageddon Shop with a new 2017 edition, with a slightly revised sleeve design and accompanied by a digital download code. Here's my old review from way back:

Obey was the first Brainbombs album I had ever heard, my introduction to their bad-news garage thuggery...the longstanding obsession that I've had with this band all started here. Obey was previously released through the label Releasing Eskimo but went out of print several years ago, and has now been reissued by the good folks over at Armageddon with slightly different packaging. Every one of Brainbombs albums is a brutal, murderous slab of misanthropic hatred and depravity, but Obey seems to top 'em all as the clearer production here allows you to hear all of the over the top, seriously disturbing rants that tumble out of the singers mouth.

The disc opens with a few moments of snappy cheesebag game show muzak, then mashes you across the grill with "Kill Them All" as the band enters among wailing feedback and a noxious plodding sludge-punk riff as the singer drunkenly states "if you've got the power, then use it an kill them all...", lurching into their trademark brand of brain-damaged noisy garage scumrock. It's simple but lethal, sludgy out-of-tune riffs repeating over and over, that banged up trumpet blaring some warped jazz over it, pummeling neanderthal drumming, every song a staggering hypnotic crawl through hideous, psychotic depictions of rape and murder and dismemberment...the "lyrics" are delivered in a heavy Swedish accent, more spoken than sung, a crazed murderous scumfuck outlining his crimes and fantasies through songs like "Die You Fuck", "Lipstick On My Dick", "Anal Desire", "Fuckmeat", extreme fucked-up litanies of misogynistic and misanthropic violence. The sludgy riffage of the Melvins dragged through the skuzzy stomp of the Stooges Funhouse and set to repeat, the music becoming more and more horrifying and hypnotic as the band hammers the riff into the ground and the singer becomes more unhinged...intense stuff.

The whole vibe here is similar to the transgressive meltdowns of Whitehouse, though to my ears Brainbombs are far more creepy and disturbing. This new reissue has pretty much the same artwork and layout, except now the artwork is all black-on-black instead of the black and white artwork of the original.


Track Samples:
Sample : BRAINBOMBS-Obey (2017 Reissue)
Sample : BRAINBOMBS-Obey (2017 Reissue)
Sample : BRAINBOMBS-Obey (2017 Reissue)


NORDVARGR  Pyrrhula  LP   (Cold Spring)   32.00
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Another exciting vinyl reissue from Cold Spring's back catalog, reviving one of the label's darkest and most imposing black industrial / black ambient albums. This 2021 vinyl edition of 2008's Pyrrhula is on wax for the first time ever, and features a completely restored and "refined" remastering specifically for the vinyl format, sourced from the original masters. Recorded during the colder months of 2008 at Henrik Nordvargr Björkk's headquarters at Villa Bohult, Sweden, this thing is a creep-show, and has been one of my all-time favorite albums on the label, from that morbid image of a withered husk of a bird's corpse that appears on the cover (imagined and realized to chilling perfection by artist and graphic designer Abby Helasdottir), to the mercilessly doom-laden electronics and ritualistic death-drone of Pyrrhula's music....it's one of those discs that really crawled under my skin. Here follows the old 2008-era review of the CD edition that I published for the initial release:

Even with all of the Nordvargr-related projects that I've written about here at C-Blast, I still never know what to expect whenever a new album comes in from the mighty Swedish dronelord. Each of the guises that Henrik Bjorkk Nordvargr has taken on - the blazing noise-damaged black metal overload of Vargr, the satanic industrial of Goatvargr, the martial ambience of Toroidh, his seminal black industrial group Mz.412 - all point to different methods of sculpting fearsome black blots of sound, but even in each of these specific projects, Nordvargr continues to explore all possible extremities with a seemingly endless ability to evolve and mutate. The last few releases under the Nordvargr banner (Helvete and the The Betrayal Of Light collaboration with Mz.412's Drakh) have brought us expansive black ambience populated with ominous machine-like sounds that inhabit a terrifying black void between the subterranean drones of Lustmord's Heresy and the satanic black murk of later Abruptum, and on his latest album Pyrrhula (which translates to English roughly as "Doomlord"), Nordvargr returns to his hellish cemetery-cities with an even heavier approach.

The eight track disc is based on old Swedish folklore concerning a bird of ill omen, referenced in the quote that's featured in the album sleeve: "“Beware the small creatures of light, they only bring misery and death upon the enlightened ones. For they will paint their breast with blood and reap your unborn angels.” Each track is a crushing mass of sinister black ambience flowing into the next, formed from grinding doom metal riffs adrift in seas of inky, subsonic drone that are skillfully crafted into multi-layered movements of shifting shadow , Jerry Goldsmith-esque Omen-style choral voices (on the feverish "Stripped Of All But Loyalty I Serve" that closes the album), bleak Lustmordian isolationism, demonic chanting, guttural moaning that sound like cave-dwelling monks throat-singing miles below the surface of the earth, massive low-end drift, distant clanking machines looped over and over, ghostly whale-song ululations, washes of dissonant orchestral strings that exude pure evil. As terrifying and bleak as anything else Nordvargr has come out with, but with an added level of metallic heaviosity that was only hinted at on Helvete. The perfect aural counterpart to Hieronymus Bosch's The Last Judgement, and essential for fans of the blackest ambient a la Endvra, Burial Chamber Trio, and Black Seas Of Infinity. I'm a fervent admirer of pretty much all of Bjorkk's work in its various forms, but this record is a particular standout of ghastly atmospherics that really does come highly recommended over here.

Cold Spring's gorgeous-looking and immense-sounding new vinyl reissue is released in a limited run of five hundred copies, pressed on 180 gram "pale amber" vinyl.


Track Samples:
Sample : NORDVARGR-Pyrrhula
Sample : NORDVARGR-Pyrrhula
Sample : NORDVARGR-Pyrrhula


CARPENTER, JOHN  FireStarter (Original Soundtrack)  CD   (Sacred Bones)   13.99
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DESIDERII MARGINIS  Serenity / Rage  LP   (Cyclic Law)   22.99
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Not all dark ambient is equal. Plenty of artists strive for simple emptiness, the solace of the void. Which is nice, but there's something special about artists like Sweden's Johan Levin, who imbues a greater depth of emotion and feeling and menace into his largely electronic driftscapes. Nothing mawkish or comforting here, though. This is music meant to disturb. Levin's work under the banner of Desiderii Marginis is a singular body of work going back to the project’s formation in 1993; while one of the original Cold Meat Industries entities, Desiderii Marginis revealed a deeper textural core and a penchant for peeling back the softening, bruising flesh of his grim ambiance and revealing a kind of pungent poetry in the diaphanous clouds of synthesizer drones and electronic blur. That restrained, highly textured expression in some ways diverged from the cruel, morbid machinations of Cold Meat's harsher aesthetic. But the mood? The subject matter? The exquisite midnight blackness of Desiderii Marginis sits right at home amongst the likes of Brighter Death Now and Mz.412.

This 2023 reissue of Serenity / Rage is an exemplary demonstration of this abyssic style, with a more recent iteration of Levin's approach to creating rich fields of baleful, shadow-soaked sound, but the foundational syntax of his work remains the same. And the subject matter couldn't be more troubling: an examination of the serial killer Edmund Kemper, whose voice infests brief passages of the album's gorgeous dark ambience. Serenity was actually originally self-released by Levin several years ago, but Cyclic Law revived it as a lovely reissue on CD and vinyl, with distressing new sleeve art created by author / musician Martin Bladh (IRM, Skin Area, Infinity Land Press) that ties in with the album's grotesque subject matter.

You know you're in for a bad trip when an album opens with Kemper discussing his familial upbringing. His intelligent, contemplative voice hangs over a bed of dreary, melancholic drone, leading you down the darkened hallways of "I Was Destroying Icons". The voice recording used for this is perfectly selected and applied, effectively unnerving in his flat, impassionate delivery. In fact, the themes and imagery behind Serenity / Rage are not spelled out for the listener. What seems to be an aural examination of the Kemper case expands into something wider over the course of the album. That first track surgically applies Kemper's matter-of-fact confessionals to a dimly-lit space of distant but crushing distorted percussion in a reverberant vastness, descending downward into black chasms of psychological dread while haunting string sections, field recordings, and orchestral pads softly swirl around you. The six-song album grows more suggestive with its macabre material, once Levin performs an impressive interpretation of Brighter Death Now's "Necrose Evangelicum", reshaping it into something more amorphous and nebulous. An unexpected choice for the second song on Serenity, but its presence this early into the album is impactful. It picks up from those massive percussive blasts of the opener, as ghostly choral voices and surges of cold metallic synth sweep across the expanse; sounding totally cinematic in scope. Boundless electronic beauty hangs in stark opposition to the cruelties that continue to crawl to the surface. The temperature drops to sub-freezing when "New Flesh On The Demon Cold" rolls in, icy drones and glacial choral textures beset by occasional percussive blasts. These tracks melt one into the next, the bleary subterranean rumble of "Psychogeography" slipping into the sinister thrum, malevolent chittering noises and dissonant strings of "I Think It Was a Sunday", and finally into the closer "The Hours Of Darkness ", where strange mechanical sounds, distant metallic rattling, and angelic synths blur together into a perfectly formed, soul-chilling driftscape.

Its remarkable how much this feels informed by Berlin School-electronics. Even at its most chilling and unnerving, there's this gleaming grandeur that prevails. The album is a stunning contradiction between the capacity for human brutality and the transcendent power of music that reaches for the divine.

Limited to three hundred copies.



SWARTALF  The Golden Section  CD   (Memento Mori)   11.98
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Track Samples:
Sample : SWARTALF-The Golden Section
Sample : SWARTALF-The Golden Section
Sample : SWARTALF-The Golden Section
Sample : SWARTALF-The Golden Section


INTEGRITY  Systems Overload (2022 Edition)  CASSETTE   (Relapse)   9.99
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Man, if you're an Integrity "die hard" and completist like myself, things have gotten a little crazy over the past decade in regards to releases and reissues of the older Integrity catalog. In addition to all of the assorted reissues and remix editions of 90s-era Integrity that came out over the past ten years on Organized Crime and Magic Bullet, now we have this intensive "reissue" campaign for the complete catalog being spearheaded by Integrity's current label Relapse. A couple of these "reissues" came out around 2022, and like the others (and the titles that just came out in 2023), this release is a "rework" of the original album, with a new mix and mastering and, sometimes, added instrumental performances, this version of Systems is a distinctly different beast than the original Victory release and the versions that came out on Magic Bullet. It can get a bit confusing, but I have my suspicions as to why the band (well, Dwid) is taking this strategy of "reworking" classic Integrity albums. And look, I'm not bitchin' about it; I worship the salted earth this band stands on, so I have zero compunction about owning each and every single version of this goddamn album in my collection. But just so it's clear, this is "Systems Overload 2022", the same songs, same track order, the same core music, but transformed into something slightly different, essentially another new vision of the album, much like the recent Relapse reissues of Those Who Fear Tomorrow and Humanity Is The Devil - you can really hear it on songs like "Salvations Malevolence [2022 Mix]" with the underlying Tom Warrior-esque vocals and psychedelic electronics whirring beneath the surface, for instance, or the amped-up noise-damaged hallucination of closer "Unveiled Tomorrows [2022 Mix]". The differences between this release and the previous editions of the Systems Overload album studio session are probably mostly only perceptible to someone (like me) that has listened to the original album more than a hundred times (which is no exaggeration), but the often subtle (and sometimes not) changes to the texture and topography of this album are definitely there, for what that's worth. Also, frankly, the new artwork that Dwid is producing for all of these reissues is fuckin’ fantastic, and often surpasses the original sleeve art.

OK, so here is my original write-up on the "original", "standard" release of Systems Overload, for the sake of clarity and posterity. Permit me to gush, if you will:

Back in the 90's, I was obsessed with the loose-knit circle of bands that were attached to the term "Holy Terror". Combining esoteric/occult concepts with a sound that took the most violent aspects of American hardcore punk and the searing Satanic thrash of Slayer and early death metal, the rather vague "Holy Terror" aesthetic started with Cleveland band Integrity, who reigned in the early 90s as masters of evil metallic hardcore. Signed to Victory Records in 1995, the band would release their second album Systems Overload to underground acclaim, even as the band's sound became even more confrontational and abrasive. The songs drew from a ferocious mixture of influenced, from noisy Japanese hardcore and Septic Death worship, to sinister post-punk and even extreme electronic elements, as well as the thrash metal, arcane religious visions, eschatological prophecy, and ongoing infatuation with Charles Manson and apocalypse cults that had fueled Integrity's music virtually from the start. Systems Overload is still one of the defining albums within the "Holy Terror' aesthetic, and its violently raw sound was totally unlike anything else the label had put out. It also became known almost universally as one of the best metallic hardcore albums of the 1990s.

Now as part of a recent spate of Integrity reissues, multiple versions of Systems Overload have surfaced, including both an alternate, band-approved mix of the album, and this, the original Victory release, now available on vinyl for the first time in years. As killer as the alternate "Orr+" mix of Systems Overload is, I still have a soft spot for the original album, and it certainly sounds vicious as hell here. Underneath the strange, evil vibe that coursed through Integrity's music, beneath the blown-out production and noisy edge, we're reminded of just how good this band was at writing memorable heavy songs. Later Integrity albums would veer into artier, more impenetrable directions, but at the time, Integrity wrote some of the catchiest, most powerful metallic hardcore songs, which sound just as relevant and powerful now, more than twenty years later. The original twelve songs on Systems were tied together with Aaron Melnick's weird bluesy guitar solos and Dwid's inimitable, gravel-throated howl, the album opening with the massive doom-laden crush and apocalyptic sample-collage of "Incarnate 365", one of the band's most recognizable riffs/intros, filled with squealing divebomb solos and monstrous metallic crush. From there the album tears through short blasts of blown-out thrash and crushing mid-paced metallic riffage, stomping hardcore fused to super-heavy guitars, songs like "No One" and "Armenian Persecution" a perfect fusion of sorrowful doom-laden heaviness and speed-fueled malevolent hardcore. It's one blast of memorable, malevolent aggression after another, laced with acoustic guitars and electronic noise, coming together as an essential album of dark, metallic hardcore.

So there you go. I positively adore the album Systems Overload. Ultra-violent, apocalyptic, esoteric, catchy as a motherfucker: this album permanently rewired my neural network. I'm cool with the tweaks. Whatever it takes to keep this music in print, and snatch it out of the control of greedy pop-punk mega-labels. If you don't own this album and you're into Integrity, this is an excellent edition to pick up.



HALL, NATE  Electric Vacuum Roar  CD   (Heart & Crossbone)   11.98
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     Killer psychedelic heaviness! U.S. Christmas guitarist / singer Nate Hall follows up a pair of killer solo appearances on Neurot with this new two-song dip into the cosmic whirlpool, raining down a pair of fairly epic-length psych jams that shudder with Hall's trademark low-slung riffery and penchant for star-scorching effects splooge. This really hit the spot when I threw it on earlier in the midst of a rather depressing workday; the first track "Dance Of The Prophet" howls across the first half of the disc, sending some languidly lysergic power-blooze noodling soaring through a fog of delay and flange effects, billowing out across waves of rumbling distorted amplifier drone and distant slo-mo drumming, almost sounding in those first few minutes like some classic Acid Mothers style space-psych being played back at quarter speed.

     Once Hall drifts in with those far-off, incantatory vocals, though, this definitely starts to resemble the sort of Appalachian sludge-psych he's been delivering with his main band for the past decade. It's a different spin on it though, incorporating subtle bits of electronic glitchery and manipulated guitar sounds to craft something a little more spacey and surreal. The whole thing meanders across the disc, both tracks oozing into long stretches of barely formed bleariness and wailing guitar drone, seeping strange shortwave frequencies and drifting into passages of haunting glacial twang, a kind of slow moving and sun-blasted sinister psychedelia beamed in from some rustic black nebulae mapped out by Manly Wade Wellman, rife with moments of startling stark majesty. And on the second song "Long Howling Decline / People Fall Down", Hall cranks up the amps for an even heavier descent into an acid-fried hypno-rock ritual, the frantic howl of Crazy Horse tumbling in reverse up through an ancient mine shaft, before finally breaking apart into a searing blast of solarized feedback and ghostly feedback drone that transforms into a beautiful elegiac passage that climbs upward across the finale of the album, which turns out to be a cover of a song from Idaho psych rockers Caustic Resin, who's Brett Netson (also of Built To Spill) actually appears on this album on additional guitar and bass. If you're into the likes of Hall's main band, the country-fried doom n' twang of recent Neurosis, the glacial rural gothic of latter day Earth, and the blown-out saurian country rock of Across Tundras, then this is one you're definitely going to want to pick up.


Track Samples:
Sample : HALL, NATE-Electric Vacuum Roar
Sample : HALL, NATE-Electric Vacuum Roar


BEYOND LIGHT  Paintings In The Hall  CD   (Maa Productions)   12.99
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Things get really miserable on album number two from Dutch experimental black metaller Beyond Light, another one-man band delivering the sort of intoxicatingly mournful gloom-bliss that Japanese label Maa has been cornering the market on. Sole member Belfalas offers his own odd take on the "depressive" black metal sound, mostly made up of writhing minimalist riffs and droning blackness woven around some great, uber-gloomy melodies and the occasional ripping black n' roll hook. Belfalas whips out lots of soaring hard rock solos over his rumbling old-school black metal attack, but also leads the songs into sometimes unexpected territory, scattering passages of sorrowful classical piano amid the heavier metallic songs, or slipping from the furious, slightly off-kilter black metal of "Painted Memories" into a strange freeform soundscape of wheezing harmonica and distant rumbling sounds of warfare. The songwriting is actually pretty weird, with lots of awkward, angular riffs and odd tempo changes that throw this stuff off kilter by a few degrees, but it's also quite beautiful at times, too, especially when those piano instrumentals come in, gorgeously maudlin passages of heartbroken melody and weeping string sections, or the lush, dreamy darkwave that emerges across the beginning of "Her Broken Face", resembling some classic 80's era gothic rock draped in acoustic guitars and that ghostly piano, distant wailing vocals drifting over washes of chorus-drenched guitar, leading into the sudden shift into regal black metal that kicks in about half way in, which itself makes way eventually for a monstrous blackened groove towards the end that would make Khold proud.

The album also features some terrific flights of Floydian spaciness that ascend from the remnants of Beyond Light's buzzsaw black n' roll, blurts of blighted Sabbathian doom-groove, passages of lovely dusty folkiness overlaid with harmonica that recalls Neil Young's early stuff, and smatterings of an almost Ved Buens Ende-esque dissonance that all contribute to a creative take on the "DSBM" aesthetic. And the vocals are mostly delivered as a hushed, menacing whisper buried beneath layers of distortion and grit...as with a lot of the bands in this vein that I dig, there's a bit of a Katatonia vibe going on with the more subdued gloom-rock parts; there's one song in particular on this album, "Her Cold Hands", which is one of the catchiest black metal songs I've heard in ages, and it pairs up the band's apparent love of vintage goth rock tones and ragged black metal riffery better than anything else on this disc, producing a particularly riveting anthem to personal desolation. It takes a few songs for Paintings In The Hall to really get it's footing, but once it does, it delivers a distinctive sound that's equal parts contempo black metal, weather-beaten folk and arty gothic gloom.


Track Samples:
Sample : BEYOND LIGHT-Paintings In The Hall
Sample : BEYOND LIGHT-Paintings In The Hall
Sample : BEYOND LIGHT-Paintings In The Hall


PERTURBATOR  The Uncanny Valley  CD   (Blood Music)   16.98
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Track Samples:
Sample : The Uncanny Valley
Sample : Disco Inferno
Sample : Venger


COTTRELL, DORTHIA  Death Folk Country (TRANSLUCENT GOLD)  LP   (Relapse)   22.00
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GOST  Behemoth  LP   (Blood Music)   23.00
Behemoth IS CURRENTLY UNAVAILABLE FOR ORDER

      Back in print on vinyl!

      Finnish avant-metal label Blood Music has really cornered the market on heavy, dark and aggressive synthwave lately, reissuing the entire back catalog from Parisian synthwave celeb Perturbator, and putting out the latest album from sci-fi electro-prog master Dan Terminus. But the most monstrous sounding synthwave to appear via Blood Music yet might be Gost, an American artist who popped up seemingly out of nowhere towards the end of 2015 and dropped this massive slab of malevolent dark synthwave on our heads. Described by the label as "1980s black metal-inspired retro slasher exploitation, starring the demonic entity Baalberith as GosT, casting ample devious nods towards Perturbator, Goblin, Justice and Bathory", this stuff is most definitely speaking my language. Granted, that overheated label blurb suggests that there might be something more metallic going on with Gost's sound (which there isn't), but the iconography is all there, with an album cover that looks like something that could have come off a death metal record, track titles like "Reign In Hell" and "Bathory Bitch", and an overall atmosphere of pending violence and apocalyptic dread.

      But the music is pure electro, another throwback to that vintage 80's-era synthesizer sound that shares a lot in common with labelmates Perturbator (who shows up here with a neat, almost Skinny Puppy-esque remix of the title track) and the equally dark Carpenter Brut. The music on Behemoth does feel a bit heavier than that stuff, though, the synths often distorted into crunchy, grinding electronic riffs, bringing a particularly filthy bass sound to this stuff that feels informed by dubstep, the drum programming heavy and pummeling, the tracks often shot up with harsh atonal stabs and weird ghostly vocal pads. It's definitely menacing stuff, a relentless pounding assault of dancefloor delirium, but like just about goddamn synthwave album, it has that one moody disco track that features a guest female vocalist, this one being "Without A Trace". It's pretty infectious, I have to admit, a blast of earworm synthpop dropped into the middle of the rest of Gost's sinister, distorted synthwave stomp. The album's best track though is the title song, which sticks out from the rest of the album with it's barrage of piercing, atonal synths and blasting demonic choral voices screaming over an insanely distorted synth riff, so heavy that it actually starts to sound like some kind of industrial metal, especially when it drops into a grinding mid-tempo groove in it's second half, producing what is easily the heaviest and most aggressive track on here. I would have loved to have heard more in that vein. Aside from that crusher, though, there's nothing here that rattles the current synthwave paradigm, but if you dig this sort of dark, nostalgic electronica as much as I do (which is a lot), Behemoth offers an excellent dose of what you're craving, with a grimmer and meaner vibe than most.


Track Samples:
Sample : GOST-Behemoth
Sample : GOST-Behemoth
Sample : GOST-Behemoth


VOIVOD  Dimension Hatross (Deluxe Reissue)  2 x CD + DVD   (Noise)   19.98
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BLUES CREATION  Demon & Eleven Children  CD   (Calamares Productions)   15.98
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BOHREN & DER CLUB OF GORE  Black Earth  CD   (PIAS Recordings)   16.98
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DEMONOMANCY / WITCHCRAFT  Archaic Remnants Of The Numinous / At The Diabolus Hour  CD   (Nuclear War Now! Productions)   10.98
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KORZYNSKI, ANDRZEJ  Music Score For Andrzej Zulawski's Motion Picture Possession  LP   (Finders Keepers / B-Music)   28.99
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Track Samples:
Sample : The Man With The Pink Socks
Sample : Opetanie 5
Sample : Possesion - Orchestral Theme 1
Sample : The Night The Screaming Stops (Opening Titles)


TEN THOUSAND MILES OF ARTERIES  Even Spilled Seed Crawls Toward The Womb  CDR   (Annihilvs)   9.98
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CYBERPLASM  The Psychic Hologram  LP   (Iron Lung Records)   19.98
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Cover art on this LP grabs me big-time, mystical retro-futuristic android and antediluvian black slab monuments and magick sigils and illustrations that look like they were scraped off the pages of a 1970s astral projection manual. The whole look of Psychic Hologram oddly makes me want to pop in Beyond The Black Rainbow when I'm done. Certainly one of the cooler / weirder looking albums from the Iron lung camp. But musically, this is high-grade nerveshred. The Olympia, WA group doesn’t seem to have much documented sound prior to this 2019 debut, but their sonic attack is most definitely fully concentrated here. With a feeling that they’ve been immersing themselves in a steady flow of Ballard, Keel, McKenna and Marshall McLuhan texts, these neon punkers are blasting out near-future eschatonic imagery via rapid-fire mutoid hardcore and synaptic-burning electronic music with a dose of crude industrial influence and sequencer abuse welded onto the mass; Cyberplasm resemble something I'd expect from those demented latter-day Japanese hardcore outfits in both energy and execution, and I can't imagine that stuff like S.H.I. (Struggling Harsh Immortals), Endon and the Confuse-inspired chaos of Zyanose and Death Dust Extractor wasn’t in some way an influence on what these guys are up to. All these are mere reference points though, the corrosive dystopian hardcore on Hologram stands quite solidly on its own.

Carpenter's growling synthesizer from The Thing slinks into the room while waves of etheric plasma and murderous voices skulk in the shadows, and then "Dopamine Machinery" plows straight into your third eye with a locomotive force, part Motorhead / D-beat metalpunk, part Confuse amp-shriek noise-punk, a monstrous riff pinning the whole thing atop the controlled eruptions of electronic and over-modulated chaos that are released in regular, numbered bursts; jesus fucking Christ does this go vicious from the start. That mix of blown-out amplifier-fucking hardcore and brutal Motorcharge and mangled analog electronic equipment heaving its guts all over the place fuels most of the stuff on this record. From "Beyond The Mind" to the sneering speaker-shredding psychedelic punk ripper "Nihilist Dictator" to the static-soaked anthem "Nervous Systems " to the Nitzer Ebb-esque rhythms and anger of "The Psychic Hologram" and "Perfect Body Pt. II". The psychotic vocals shift in timbre and intensity throughout the whole thing, but at the same time these songs are perversely catchy given how warped and noisy they are, backed by that intense drum machine programming. Meanwhile, you get these undercurrents of programmed beats, sicko sequencer throb scraped off the steel-toed boot of some imposing 80's era EBM, maniacal vocal track manipulations, brain-smushing electronic fuckery, moments like "Free The Body" where it sounds like classic Discharge being run through a chain of ecto-plasm smeared transistor radios, or the technoid hardcore mania that soups up "Machines From Trauma" and the echoplex-n'-LSD overdrive of closer "Simulate Prison" into crowd-obliterating energy levels . Kind of evokes some of the later, weirder G.I.S.M. material too, at least in spirit.

It's been said before, but some of the most interesting and vicious shit happening in the hardcore punk spectrum lately is coming out of this whole Confuse / Disclose-influenced "noise punk" aesthetic that has been getting progressively more experimental, extreme and trippy over the past two decades, with some serious industrial damage going on. Stuff like L.O.T.I.O.N. and No Statik. All I can really say is that If I do end up chewing on a dog's leg up on the 30th floor, I hope this is coming out of the speakers when it happens.

Comes in a jacket with striking design by Sainte-X, limited to five hundred copies with a large foldout poster and a download code.


Track Samples:
Sample : Dopamine Machinery
Sample : Nihilist Dictator
Sample : Perfect Body Pt. II


WILSON, ERIC  The Republic Of Cthulhu  BOOK (TRADE PAPERBACK)   (Punctum Books)   21.00
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HELVETE  A Journal Of Black Metal Theory: Issue 3 - Bleeding Black Noise  BOOK (TRADE PAPERBACK)   (Punctum Books)   21.00
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JACOBSEN, CRAIG  Elliot (Original Sound Track)  CD   (Dreams Of Dead Cats Productions)   5.98
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OLHAVA  Frozen Bloom  CD   (Avantgarde Music)   15.99
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FINAL EXIT / SEDEM MINUT STRACHU  Brutal Accidents / Hail Cliff! Fuck Riffs!!  7" VINYL   (SPHC)   6.99
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The pefect palette cleanser for all rational thought. The Brutal Accidents / Hail Cliff! Fuck Riffs!! is actually one of a handful of collaborations and splits that these two bands have done together, and here they comkpliment each other's noxious anti-musical blurr perfectly. This is classick-style old-school noisecore, but with both Final Exit and Sedem Minut Strachu showing how even this sort of borderline Dadaist audio-violence can be expressed in a myriad of ways.

Final Exit's side is a grenade blast of lunatic hyperspeed absurdity, chopped up into five songs humorously titled like "Kamikaze Attacked The Gym" and "Party, Angry And Lack Of Sleep". These Japanese weirdos have been at this since 1994, actually appearing on one a compilation that was one of the earliest Crucial Blast releases ever. So I've been a fan of this stuff for awyhile. Known amongst noisecore fanatics for their ability to blown open the boundries of total blurr into moments of ridicculous but adeptly performwed disco music, surf rock, pop melody, and heavy metal, it always a brainfuck listening to 'em. Amphetimine speed-chaos disinitegrates into fucked-up ska parts before morphing into an utterly hwellish feedback-drilling vat of blackened sludge a la Corrupted. Pretty pop punk jangle explodes into pure blurr in a matter of seconds. There are a couple of grueling sludgecore sections included among the acoustic guitar strum, three-second noisecore blasts, bursts of crossover thrash riffing, and hideous roiling low-end noise. Fuckin' brilliant - like I've mentioned in the past, it seems evident that these two guys are hardcore Naked City fans, but attack their bizarro blast with total punk abandon. It's pretty wild what they do here in five minutes with just guitar and drums (and those sickoid shrieking gibbon gibberish vocals, of course).

Far more murky, low-fi and downright barbaric, Sedem Minút Strachu simply belt out a single untitled five and a hhalf minute piece of bass-heavy (and I mean heavy blurr. This stuff sounds monstrous, moving from the absurd thousand mile per hour blasts of incompreggensible chaos to mid-tempo punk to splatters of rumbling bass noise. From all appearances, this is an ode to bass-god Cliff Burton, and there are a shitload of wrecked Metallica riffs that keep surfacing out of the cranked-up concrete-mixer caveman pandemonium. There is some very weird shit going on with the vocals, with what sounds like some kind of actual singing going on in the background when they aren't howling and barking like animals. Knowing Sedem Minút Strachu from their other releases, this has got to be mostly improvised noisecore aside from those totally berserk Metallica motifs that keep popping up, but even when this side is going at full velocity, it can have this feeling of "complexity" that is sort of unique to theser guys. It's awesome.


Track Samples:
Sample : FINAL EXIT - Deadly Drive
Sample : SEDEM MINUT STRACHU - Untitled


AMAZING GRACE  Revival Times  CD   (Desolation House)   9.99
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Track Samples:
Sample : Sunday
Sample : Blind
Sample : Faith Healing (Symbols)


KUTULU  Ph'nglui Mglw'nafh Cthulhu R'lyeh Wgah'nagl Fhtagn  CDR   (Steelkraft Manufactory)   10.99
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SUBTERRANEAN SOURCE  Ellipsis  CD   (Winter-Light)   16.99
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2021 full-length is made up of five longform collaborations from a number of names in the dark ambient underground, some of whom are personalm favorites here at C-Blast. The cthonic electronics and vast sub-surface dronescapes that Italian sound-sculptor Subterranean Source has been craffting since the turn of the millenium are all present, showcasing a skilled hand at creating a newer interpretation of the "isolationist" aesthetic, but the addition of these other plays adds even more textural qualities and ubnique combinations of sound and style than other recent offerings from the Source. With tracks that spread out from six to sixteen minutes in length, the album thrusts you into another stunning and ill-lit space, starting with the buzzing halogen dread of the opener "Decadimento Incrementale Featuring". TYhis one has fellow Italian Paolo Bandera ( ( Sshe Retina Stimulants, Ensemble Sacrés Garçons, Iugula-Thor, Sigillum S ) stepping in to contribute a horde of mechanical buzz and crystaliizzed fragments and sometimes ghastly-sounding aural events to the Source's underground vastness and endless rumbling drones. That first track is as chilling as anything I've heard from either artist, evocative of Yen Pox and lustmord at their most skin-crawling creepiest. The shortest piece is the collab with New Risen Throne, "Evoke", which compresses their sounds into a more claustrophonbic experience, a swarming of low-volt energy, ghostly murmurations, cyclic clicking, and mysterious percussive noises all surrounded in a cloying blanket of cavernous echo and reverb; slightly more meditative than menacing, but still pitch-black in tone, flowing towards a finale that feels like the afterglow of a seance gone sideways.

When Exit In Grey and Subterranean Source converge for the epic "Oblivion", each artist's signature style is blended together into a harrowing spookshow of immense tectonic rumblings, sinister voice-like presences filtereed throuygh an elecrtronic signal, glowing specks of irradiated hum and the infinite whirr of prayer-bowl like gestures. This one is filled to the brim with detailed activity, a swirling space alive with sudden, frightening flashes of tone and scrape and hiss, made all the more unnerving by what feels like a multitude of malevolent voices murmuring in the distance at different directions. As some subtle minor-key organ-like musical shapes take form, the atmosphere of "Oblivion" turns towards the Gothic, as if we are leaving a dank, earthen tunnel system and enteering some gargantuan underground cathedral as some kind of serpent-worship is occuring, a ritualistic air hovering over these new movements, while the still-mysterious clanks and bell-like intonations echo in the unseeable blackness, evoking some unknown processes at work as the sounds slowly shift towards some sort of consonant lightness glimmering at the very end of the structure. Definitely a highlight of this album, one of the more cinematic-sounding pieces on the whole album, but still pretty goddamn freaky.

For "Ocean Chants & Ghosts ", Nimh adds their hair-raising death-drones and ritualistic musicality to another sprawl of ambient unease. Softly plucked strings and poignant keyboards from Nimh form a kind of funereal beauty that drifts over the Source's dark drift. From the start, this piece reveals a mournful beauty unlike the rest of the album, evoking a Tangerine Dream-like grandeur as they tunnel through the black, gorgeous electronic melody and delayed strings weaving a mesmerizing central figure, while beyond the soft firelight of this melody there are numerous menacing movements in the shadows, all coming together to make this a breathtaking piece of grim beauty , even more cinematic, "soundtracky", and emotionally, epically wrought than anything else on Ellipsis, and easily my favorite song on this disc. This one lurks in my mind even after the disc is finsihed.

Lastly, the song "Zaruchejnaya" has Lunar Abyss joining with an unusual and unexpected glitchy folk-flecked noisescape, those massive rolling drones and cave-system reverberations unfolding under a bizarre twilight sky of insectile chirps, whizzing and whirring electronics, odd sinewave formations, and another musical quality that is a bit lighter in tone than the preceding tracks. It's still pretty oppressive, of course, but there's a surrealistic playfullness that Lunar Abyss brings to this piece that really stands out, merging dark ambient awe and bits of mournful piano-like notes, gentle guitar plucks, shimmering chimes, weird voices stretched over the backgriound, surges of percussive thubnder, all very strange and darkly magical as it all proceeds to surface from the inky blackness of the rest of the album's aural underworld into the violet glow of encroaching night, unleashing an alien dreamscape upon you as you break the surface.



ATHAME / XEUKATRE  Morbid Deviations  CASSETTE   (Crucial Blast)   8.00
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Long in the works and finally released as a split-label effort between Infernal Machines and depraved local imprint Volva just as the two bands were about to embark on their 2019 summer tour together, Morbid Deviations is the long-awaited split album featuring two of the Baltimore / Maryland area's most vicious and destructive black metal outfits. Released as a pro-manufactured tape with on-shell printing and packaged with a pair of 1" buttons each bearing the sigil of each band, and released in a limited edition of two hundred copies, this motherfucker seethes with all of the violent, inebriated energy that these two outfits have harnessed over the past decade.

The Athame side blows this up immediately with three sweat-and-blood stained blasts of morbid ugliness from the fringes of Appalachia. It's a fetid mixture of pulsating cellar emanations with brief moments of cavernous ambiance and abstract ritualistic rattling amid the crushing chaotic, sludge-n'-punk stained black metal of "Human Flood" and "I, Accuser", with an ode to classic 80's deathrock surfacing in the middle with Athame's barbaric rendition of Christian Death's "Figurative Theatre". There is a wretched, lurching, blasting hatefulness that grips the witch-blade and follows the continuum of their underheard but satisfyingly grimy discs With Cunning Fire and Adversarial Resolve and The Burning Times. To date, some of their best work that I've heard.

On the B-side, Baltimore's Xeukatre follow with their own uniquely putrid melange of Les Legions Noires-influenced filth and ghastly low-fidelity punk. Frenzied and rotten, their three offerings "Dirgelwch Ffydd", "Sigrdrifumal" and "Scalding Blizzard of Seraphim Tears" waft off of their side of this tape like fumes from a corpse-clotted gutter. One of the few releases to surface from the trio even after a decade of skulking around dimly-lit Baltimore-area venues , this is some of the best raw, unhinged black metal coming out of the area, and hopefully a portent of more new material to come at some point in the near goddamned future.

A full-length split album that features three exclusive tracks from each band, presented with professionally manufactured cassettes with black-on-silver shell print, in a limited edition of 200 copies. Each cassette comes sealed with a pair of ATHAME and XEUKATRE 1" badges.


Track Samples:
Sample : Side A (excerpt)
Sample : Side B (excerpt)


PORTAL  Hagbulbia  CD   (Profound Lore)   13.99
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PENNY COFFIN  Conscripted Morality  CD   (At War With False Noise)   11.99
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There is this thing going around, pretty small scale but I'm seriously hoping that it continues to spread, where bands ostensibly playing "old school death metal" (OSDM) are introducing industrial elements (namely Godflesh-esque grind and repetition) to their music. And I am lovin' it. I think the first band that really ground my brains to mulch with this approach was Legion of Andromeda, whose two albums and collab with Vomir are still some of the all-out heaviest and nastiest shit from the past decade of undergeround death metal, and Megascavenger came out around the same general time period with an album that veered into that direction as well. But Penny Coffin's mini-album Conscripted Morality is the most recent of these discoveries, via this 2023 CD edition from Scottish powerhouse At War With False Noise. And boy, does it scrape the bone clean.

Lyrics that combine religious references and excratory depravity with a vicious anti-authoritarian bent. Total negativity. Swells of cavernous, creepy guitars emerge from the underneath followed by the ring of a Tibetan-style prayer bowl and deep throat-singing; in the blink of an eye, though, that entrance on plumes of subterranean ether blasts off into the crazed death metal of "Ballistic", duly titled with its rigidly constructed blastbeats and shifts in precision drumming, moldy and monstrous guitar riffs and caveman bass spread out in an oilslick of gross dissonance and sudden shifts into a surprisingly grandiose doom-death riff style backed by orchestral synthesizer sounds and rotten-as-fuck vocal spew. That opener sets up an interesting contrast that continues through all four of Morality's fairly lengthy / meaty songs, balancing barbarous, stripped-down death chug and torturous slower sludginess (fronted by those totally incomprehensible gusts of verbal vomit, soaked in reverb and echo and christ knows what else) with some strikingly catchy moments of anthemic power and magesterial atmosphere that mostly come from out of left field. The old school, early 90s death metal sound is in full force, with a churning, rabid heaviness and sudden tempo changes that could wreck a bus (wait until you hear "Predator", good god), but the machinelike, militaristic double bass, strange electronic accompaniment, and passages of grueling looped industrial noise like the beginning of "Slowdive" (sounding like someone dropped a mid-80s Merzbow tape into the mix) give Penny Coffin its inhuman, unhealthy, mechanically-damaged presence that sets it apart from other "OSDM" outfits I'm listening to at the moment. That latter song has some of the most out-there "noisy" stuff on the disc, the grinding death backed up by walls of eerie tremolo-picked texture and the keyboards that at certain points have a vaguely Nocturnus-esque quality to them.

The title track likewise fuses the swirling fog of dissonant distorted menace and moments of melancholic melody, but the start-stop riffs that kick in are gargantuan, Bolt Thrower and Asphyx level chug-a-thon destruction all over the place. Pretty wicked. "Morality" also sports the only real guitar solo on the disc, I'm pretty sure, and the way that it drifts in and coils around the rest of the band right before they all come together into a sickeningly heavy droning breakdown awash in those soundscape elements is very well done. especially towards the climax when a whole violin section shows up and casts a mournful overcast ambience over everything, until it finally returns to those chanting monks and prayer bowl intonations. These guys definitely aren't doing anything "technical", but it's certainly different. A total wrecking ball, but with flourishes of something atmospheric and weird just beneath the surface level brutality. It goes without saying that I'm usually a huge fan of anything that At War With False Noise does death metal-wise. But Penny Coffin offer something catchier and memorable with their helllish skullcrunch. God help us when they return with a full length of this stuff.


Track Samples:
Sample : Slowdive
Sample : Predator
Sample : Ballistic


NIGHT FEEDER  (1988)  DVD   (SRS Retro (Sub Rosa))   14.99
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COMES, THE  No Side  LP   (La Vida Es Un Mus)   26.00
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POISON RUIN  Harvest (BLACK VINYL)  LP   (Relapse)   24.99
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BAND, RICHARD + THE FIBONACCIS  TerrorVision (Original Soundtrack)  LP   (We Release Whatever The Fuck We Want)   17.99
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CULTIC  Seducer (Expanded Edition) (EXTRA LARGE)  SHIRT + CASSETTE BUNDLE   (Crucial Blast)   28.00
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Dark Dungeon Metal Overdrive!

Man, I was immediately obsessed with Cultic as soon as I heard 'em; their 2019 debut album High Command stomped me into the dirt with its visions of dark epic fantasy and primal death/doom. That album demonstrated Cultic's sure hand at grinding you into dust, their sound grounded in a fetid mixture of classic 1980s heavy metal, primitive death metal, Hellhammer / Celtic Frost, and a smattering of barbaric hardcore punk. But that pummeling style was elevated by its use of electronics, weird effects and post-industrial elements, turning their already sufficiently crushing and filthy death churn into something stranger, spacier, more otherworldly, perfectly encapsulating the feel and atmosphere that emanates from the band's stunning original artwork (from drummer Rebecca Magar, a talented visual artist and the force behind the art/design house Wailing Wizard). Fiery dragons and clashing medieval armies, eldritch monoliths and sinister sorcery - Cultic's album art evoked everything that I loved about the darker fantasy novels I read in my youth, backed by atomic hammer riffs, scowling vocals, vintage synthesizers, and dark martial bombast. That album and its 2022 follow-up Of Fire and Sorcery (both released on the band's own Eleventh Key label) featured a raw assault of vaguely psychedelic mid-paced Morbid Tales-damaged deathsludge, and from the early demos through to the latest album, Cultic has followed a contorted upward trajectory into ever-heavier, more down tuned riff-laden primacy.

In 2023, the band released the two-song Seducer EP through Eleventh Key. With new bassist Andrew Harris (also of Baltimore trad doom heavyweights Alms) joining the husband-and-wife team of Brian (vocals / guitar) and Rebecca (drums) Magar, these guys sounded more embittered, lustful, and just plain violent than ever. Ancient synths and gorgeous dark ambience, ethereal female vocals, and mesmeric dungeon industrial starts off the title track, then pulls the rug out from under you as the trio lunge out of the shadows with one of their heaviest riffs ever. The awesome screams and mocking, acid-tinged roars melt into the atavistic spaced-out doom-death as "Seducer" lumbers through more of those killer Moogy electronics and weird effects. It's ridiculously heavy in spite off all the bizarre hallucinatory audio swirling around. Then "Seduced" bathes you in eve more lush, grim keyboard sounds, the most kosmische kind of dungeon synth bliss, and once again the band scatters that bleary ether when they drop into another fucking scuzzy, spine-bending hunk of slo-mo death metal . It's terrific. These two songs have better production than previous recordings, while maintaining their raw, caustic filthiness. If these two tracks are indicative of what Cultic's next album is going to be like, god help us.

This expanded version of the band's Seducer EP includes the early demo version of "Seduced" which has its own alternate electronic charms, and reveals a much more primitive, caveman vision of that song. Like hearing early Cathedral jamming in some rickety, oil-stained garage, soused out of their gourds on dextromethorphan. It's rad. On the B-side, this release features several bonus tracks: first is the two-song Prowler demo from 2017, recorded when the band was just the original duo of Brian and Rebecca. Their first-ever recording, previously released on a now out-of-print CDR, Prowler sounds fully formed, just more raw and low-fi, and without the electronic elements that would later develop into their current sound. These two songs are crushers, "Cruel Orders" and "The Prowler" delivering those signature dark fantasy lyrics, trippy grunting vocals, and knuckle-dragging doom-death. In addition, the EP is rounded out by a feral 2018 live recording of "Conqueror" that unleashes the band's full war-wrath, and circles back around with a killer live 2019 recording of "Seducer" that's stripped down to its bulldozing basics.

Nearly forty minutes of primo gargantuan Gamma World barbarian death metal. So for an "EP", this Crucial Blast reissue crams in the goods. It's also beautifully designed by the band themselves: Seducer boasts more of Rebecca's striking, Frazetta-esque artwork, which perfectly captures the carnal violence of this music. It's one of the coolest looking tapes we've put out over here yet. I can't express how stoked I am to be working with this band, as I've been a longtime fan of the couple's work, both Rebecca's fantastic art and Brian's previous musical dark arts in the ritual black ambient / doom-drone outfits The Owls Are Not What They Seem and Layr. Can't recommend this band enough.


The release of the expanded Seducer EP on holy analog tape is further celebrated by this bitchin' brand-new Cultic shirt design, created specifically for this release. Featuring what might be my favorite Rebecca Magar art yet, the wicked three-color "Whip Seduction" shirt is printed by Forest Passage Printing on black Gildan 100% cotton garments, front print only.


This item combines the Cultic Seducer (Expanded Edition) Cassette with the "Whip Seduction" shirt, shipped together. This item will begin shipping the week of February 9th, 2024.


Track Samples:
Sample : Seducer
Sample : Seduced
Sample : The Conqueror (Live)


TRIUMPH OF DEATH  Resurrection Of The Flesh (Triumph Of Death Live, 2023 - DELUXE BOOKPACK)  2 x LP + 7 INCH   (Noise)   95.99
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PITCH SHIFTER  Submit  CASSETTE   (Earache)   9.99
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SORE THROAT  Starving Wolves Stand & Fight  CASSETTE   (Grind Today)   11.99
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Resurrected to hurl this 2022 EP in your face

Brutal electronic noise of "Charge Of The 77th Brigade" explodes into insanely raw grindcore, and then each song comes rushing at you, utterly crushing metallic grind as "Totalitarian Gulags", "You've Got A Bigger Problem Now", "Orwellian Corpus" detonate in brief blasts of maniacal violence. The entireity of Starving is a mixture of that barbaric grindcore, bulldozing D-beat, ten-second bursts of noisecore, all recorded low-fi but loud as fuck. For a bunch of old hardcore guys, they seriously bring the aggression for this twenty-four song assault. It's a bit samey comapred to other Sore Throat offerings; you won;t find the psychedelic sample/electronic-infested insanity of their classic accidental avant-blast masterwork Disgrace To The Corpse Of Sid. But this stuff is relentless, goddamn ceaseless blasting and those awesome ape-man grunts and howls from the voalist, who here goes by the name The Skullfucker. I'm down with it. This tape really takes me back to that era of extreme UK hardcore when bands were aiming to out-speed and out-noise one another, hardcore punk being pushed to the absolute limits of coherency and musicality, which is of course how these guys stumbled into what would become an iconic "noisecore" style. The noisecore tracks on Wolves are as thermo-nuking as I need, stuff like "Cry Wolf", "Raw Meat", "Drop The Bomb" shattering at the speed of madness, nine second doses of total chaos.

But it does get a bit weirder as you approach the end though, when "Grand Solar Minimum " hits. Suddenly, these guys are delivering this crushing, doom-laden dirge that is fucking majestic; not quite the same as the industrial sludge-crust of their "Saw Throat" material (which is another major favorite of mine), but this lumbering, droning sludge-metal opus turns into an epic soundscape of misery and rage, strange drones peircing thru8gh the slo-mo crush, the sounds of crying infants and screaming crowds and weird effects being layered over that terminal dirge, developing a strange and eerie atmopshere as the eight-minute song unfurls its toxic muck, ultimately dissolving into a pool of brittle electronic noise, nuclear winds and distant bomb blasts, and huge orchestral brass-like drones that back a short, furious ranting speech . Awesome.

That is followed by "Full 22 Track EP (No Edits)", which appears to be a redux of the same recording session, but without edits (obviosyly) and some noticeable changes to the mix. That regal dirge ends the set again, and still sounds powerful as hell in this rawer, less polished form. After hearing it a couple times on this collection, I gotta say that "Grand Solar Minimum" might be one of my all-time favortite Sore Throat somngs. It rules. The tape wraps up with "8 Song Instrumental Rough Mix", which presents some of the songs from the track list , and it weirdly sounds almost industrial-metal ish. Not sure what is giving it that colder, mechanical feel, but this five-minute track could be mistaken for Optimum Wound Profile if I didn't know otherwise. Pretty rad.



INCANTATION  Diabolical Conquest (REISSUE - AQUA BLUE EDITION)  LP   (Relapse)   19.99
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SIEGE  Drop Dead (30th Anniversary Edition)  CD   (Armageddon)   14.98
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      The latest CD edition of this seminal early American hardcore album is the most definitive version yet, pairing up the original nine-song album with their original session outtakes and the songs from the Cleanse The Bacteria compilation. Absolutely essential proto-grind / avant-hardcore, one of my all-time favorite albums, period. This 2016 repress comes in jewel case packaging with stark black-and-white imagery, lyrics, and a Japanese-style obi strip. Here's the old review from the previous LP release:

      When it comes to extreme hardcore, Siege's legendary Drop Dead is the most important record ever. Can there be any doubt? C'mon, we're talking about the EP that influenced Napalm Death to play grindcore, and the music that birthed every blastbeat spewing outfit that has come since. It's fucking staggering to listen to Drop Dead today, in 2006...these songs, recorded way back in 1984, still sound every bit as berserk and apocalyptic and brain melting as they did then. Beneath Rob Williams' mach 10 thrash beats and Kevin Mahoney's psychotic, blood-curdling vocals, Siege's songs had hooks that any band would kill for, and one of the most destroyed guitar performances ever put to tape. These guys totally mutated hardcore in the early 80's and turned it into something completely new, just listen to the psychedelic hardcore epic "Grim Reaper" with Mahoney howling about a man being diagnosed with cancer as he belts out a freaked out saxophone performance over nightmarish tape loops and the rest of the band noisily improvising on one noxious riff.

Total genius. Aside from Bad Brains and Black Flag, I can't think of any other bands that were this crucial to the development of the American punk underground. Drop Dead is one of my all-time favorite records, a statement of extreme music that has never been equaled in my opinion, and it's essential to anyone into extreme hardcore, grindcore, outsider heaviness, and noise-damaged insanity.


Track Samples:
Sample : Questions Behind the Wall
Sample : Grim Reaper
Sample : Conform


NEUROSIS  The Word As Law  LP   (Neurot)   23.99
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NUCLEAR DEATH  Carrion For Worm  CD   (Dark Symphonies)   12.98
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Finally, we get some high-quality CD reissues of the early Nuclear Death discography, featuring the same material featured in that massive four-LP boxset that came out a couple of years ago, spread out across two CD releases from the recently revived Dark Symphonies imprint. These discs are a marked improvement over the previous CD reissues that came out in the early 2000s, now pairing up the albums with additional demo material that further fleshes out each pustulent period of Nuclear Death's evolution into the psychedelic vomit gods we know and love. And man, this stuff still sounds as extreme as ever. Coming out of Phoenix, Arizona in the late 80s, Nuclear Death stood out in the burgeoning extreme metal underground with a twenty-something girl named Lori Bravo on vocals and bass who sounded like hell unleashed, her voice swooping from monstrous guttural growls to bizarre wordless vocalizations to killer falsetto screams. Backed by drummer Joel Whitfield and guitarist Phil Hampson, Bravo led the band through an inchoate nightmare of grinding, ultra-noisy death metal that started off as a more thrash-influenced sound, but which had evolved into one of the weirdest death/grind bands of its era by the release of their legendary 1991 album Carrion For Worm.

It was with 1991's Carrion For Worm that Nuclear Death truly transformed into one of the strangest death/grind bands around, taking the murky, blurred chaos of their previous album and adding in an array of bizarre noises, hideous atonal guitar sounds, counter-intuitive rhythms and some of the most insane vocals that Bravo ever produced for this band. The songs careen through weird tempo changes and stomping off-kilter breakdowns, the blasting deathgrind splattered with Hampson's lysergic solos, which are ten times more crazed and discordant here than on the older Nuclear Death records. On some of these tracks, the band hurtles into passages of such cyclonic violence that it turns into a kind of blackened, gore-splattered noisecore, chainsaw guitars rumbling beneath the overdriven blastbeats and waves of rumbling noise, and Bravo uses extreme delay effects on her voice to produce some truly terrifying psychedelic effects on songs like the discordant, Autopsy-esque sludgefeast "Greenflies". There's a scornful review of this record that was posted by someone on the Metal Observer site that complained about what he perceived as Carrion's utter unlistenability, where he describes the sound of this album to being "like if Blasphemy and Beherit would interpret together some Einst�rzende Neubauten songs, and while I'd certainly question his taste, he might be on to something there. There's a weird, experimental edge to a lot of these songs that shows up in the form of that blasting formless guitar noise and the heavily processed effects that the band uses on their instruments and vocals, and it's clear that Nuclear Death were trying to create something extreme and otherworldly here. They definitely succeeded, producing one of the era's most bizarre death metal albums.

In addition to the album, this new CD reissue also features the A Symphony Of Agony and Vultures Feeding demos. The A Symphony Of Agony demo from 1987 is a mix of live and rehearsal tracks, and the sound quality is surprisingly good considering the age and source of these recordings. The live tracks in particular were great to hear, as live recordings from Nuclear Death have always been hard to come by (for me at least). Out of all of these demos, the 1988 tape Vultures Feeding is my favorite; while it has a heavier and clearer recording than the previous demos, the band sounds more unhinged than ever, their chaotic, noisy, sound again bordering on total noisecore, the riffs and drums going in different directions, a spiraling mass of buzzing death metal riffs and caveman blastbeats caught in a vortex.

An essential collection of some of the most chaotic, brain-scrambling and utterly filthy extreme metal ever unleashed, this also includes the original album layout and artwork, and comes with a twelve-page booklet with lyrics, flyer art, band photos and new liner notes from Lori Bravo.



CAVE IN  Until Your Heart Stops (REISSUE)  2 x CD   (Relapse)   14.99
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Track Samples:
Sample : Halo Of Flies
Sample : Moral Eclipse
Sample : The End Of Our Rope Is A Noose
Sample : The End Of Our Rope Is A Noose (Demo)


CELTIC FROST  Into The Pandemonium (Deluxe Reissue)  CD DIGIBOOK   (Noise)   14.99
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SUBROSA  More Constant Than The Gods  2 x LP   (Profound Lore)   35.98
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      Back in print on vinyl, issued as a gorgeous double LP with printed inner sleeves and insert.

      More Constant Than The Gods is the gorgeous new album of solemn, metallic-tinged chamber-rock from Salt Lake City's Subrosa, about as perfect a fusion of classical and folk instrumentation and crushing Sleep-esque doom-laden heaviness and soaring, achingly pretty pop hooks as I have ever heard. The album opens with some somber, muted electric guitar and those gorgeous, hushed vocals from singer Rebecca Vernon (who continues to vaguely remind me of Marcy May from Scrawl), the beginning of "The Usher" coalescing from a fog of ghostly violins and scraped strings, gusts of distorted fuzz and the muted chords of the guitar, soon joined by Jason McFarland's equally hushed singing. When the full band crashes in at around the three minute mark, and the sound gives way to a churning metallic might, Vernon's vocals never lose their fragility, even as the band slips into ever slower, heavier tempos and blasts of crushing downtuned heaviness. And from there, More Constant Than The Gods just transforms into something massive, the guitars erupting into squalls of screaming seagull feedback, wailing high-end amp noise rising over those sing-song vocals and weeping violins and churning metallic riffage, the soft chiming of a vibraphone ringing out overhead.

      It's all intense and strikingly beautiful, the songs shifting into folk-flecked dirge and gorgeous multi-part vocal harmonies, where Vernon synches up with her band mates for gorgeous lilting vocal melodies. There's the monstrous lumbering sludge of "Ghosts Of A Dead Empire", which starts off sounding something like the drugged, droning sludge metal before shifting into long stretches of ominous violin that sing over rumbling, fuzz-drenched guitars, leading into the crushing denouement where the song suddenly ascends into a fucking breathtaking hook. Here, Vernon's vocals transform into this achingly beautiful, terminally catchy melody that melts into the droning, saurian riffage perfectly, those violins skittering overhead, turning the final minutes of the song into a stunning piece of folk-flecked sludgepop majesty. "Cosey Mo" features another one of these stunning hooks churning at the heart of the sweeping chamber strings and that grinding guttural guitar tone, while "Fat Of The Ram" slips into an ecstasy of angular heaviness, that Sleepy metallic crush shifting into a strange blur of dissonant slide guitar and haunting clarinet sounds. As the instruments become glazed in delay and are set adrift on waves of echo, the music turns dark and dreamlike as the band bulldozes through the haze, eventually erupting into a kind of progged-out grandeur.

      The album is filled with these amazing moments, from the sorrowful doom of "Affliction" that burns with a mutated, bluesy power, to the dramatic piano that opens closer "No Safe Harbor" and is joined by gorgeous, witchy flutes for another stretch of dark chamber rock mastery, the droning doomed deathmarch that emerges later finds itself fused to an airy folky beauty. Each song weaves an eerie spellbinding story, Vernon's lovely voice the thread tying it all together, with lyrics that are both richly evocative and literate, with considerable footnotes included in the booklet that help to expand their lyrical visions. By far the band's best work to date, the album features Glyn Smyth's beautiful Symbolist/Aubrey Beardsley influenced artwork.


Track Samples:
Sample : SUBROSA-More Constant Than The Gods
Sample : SUBROSA-More Constant Than The Gods
Sample : SUBROSA-More Constant Than The Gods


CARPENTER, JOHN  FireStarter (Original Soundtrack)  CASSETTE   (Sacred Bones)   11.99
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ARTIFICIAL BRAIN  Artificial Brain  CD   (Profound Lore)   13.99
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INTEGRITY  Those Who Fear Tomorrow (2022 Edition)  CD   (Relapse)   11.99
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VELVET CACOON  P aa opal poere pr.33  CD   (Starlight Temple Society)   9.98
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Track Samples:
Sample : VELVET CACOON-P aa opal poere pr.33
Sample : VELVET CACOON-P aa opal poere pr.33


PERTURBATOR  The Uncanny Valley  2 x LP   (Blood Music)   30.00
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Track Samples:
Sample : The Uncanny Valley
Sample : Disco Inferno
Sample : Venger


BISHARA, JOSEPH  Insidious Chapter 3 (OST)  CD   (Void Recordings)   14.98
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Back in stock.
    

The latest foray into horrific soundscapes from composer Joseph Bishara, this new score follows his third time constructing the frightening sonic backdrop to the popular Insidious series, which has updated the "family under assault by demonic forces" storyline first seen in Poltergeist to a modern, more unsettling setting. A former member of the early 90s industrial metal outfit Drown, Joseph Bishara has made a name for himself in recent years as the go-to guy for some of the better horror films currently coming out of Hollywood, drawing from the atonal modern classical music of composers like Ligeti, Crumb and Penderecki and combining that influence with contemporary electronic and experimental textures to create some of the creepiest film music being made right now. I was already a fan of Bishara's previous scores for the Insidious films, The Conjuring and Dark Skies, but the direction he would take for this new project was particularly enticing. For his score to the third installment in the Insidious series of films, Bishara teamed up with legendary metal drummer Dave Lombardo (Slayer, Fantomas) and pianist/composer Saar Hendelman to create these jet-black soundscapes, which is featured on this album as twenty-two tracks that plunge into a nightmarish sonic realm of low, rumbling percussive sound and distant ostinato strings giving way to violent, shocking blasts of orchestral dissonance, quieter sections where those muted strings drift hazily over minimal piano, or dissipate into abyssal dronescapes; violins are manipulated and molested, producing sickening glissando notes that slither and writhe through cloudy masses of low-end electronics and reverberating metallic noise; ghostly atonal melodies slip in and out of view, drifting out of the void to reveal themselves in brief glimpses before being swallowed up again in the blackness; murky electronic rhythms bubble in the depths of the mix, looping patterns that seethe on the periphery; and there are sequences of stygian ambience here that rival anything you'll find on labels like Malignant or Cyclic Law.

     Like most of my favorite scores, the sudden blasts of volume and intensity make for a terrifying listen even when separated from the film's demonic imagery, which reaches a feverish intensity whenever Lombardo's abstract drumming enters the fray, often appearing in controlled bursts of rumbling percussive sound that punctuate the louder, shocking eruptions of those fearsome strings, or producing slow, sinister swells of cymbal washing over quick, improvisational flurries of drumming; it's an exercise in skillful tension building, even the more emotionally poignant moments of Bishara's score seem to have a lingering sense of dread, like the haunting, lyrical "Questions Left Behind" and the gorgeously moody "Friendly Face"; utilizes sleek modern composition and experimental techniques, there's a definite post-industrial tinge to this music. One of the better modern horror scores, in the same terrifying league as Roque Banos's fantastic Evil Dead score. Comes in gatefold packaging.


Track Samples:
Sample : BISHARA, JOSEPH-Insidious Chapter 3 (OST)
Sample : BISHARA, JOSEPH-Insidious Chapter 3 (OST)
Sample : BISHARA, JOSEPH-Insidious Chapter 3 (OST)


GOST  Non Paradisi  CD   (Blood Music)   14.99
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VOIVOD  Dimension Hatross (Reissue)  LP   (Noise)   23.00
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TROLLER  Graphic  LP   (Holodeck)   19.98
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Back in stock.

After a nearly four year wait, this doom-laden darkwave outfit from Austin, TX has finally returned with the follow-up to their acclaimed eponymous debut. It was there that the band introduced their lush, lugubrious sound combining heavy synths, slow-motion rhythms and haunting vocal melodies, woven into infectious, brooding blasts of darkpop perfection; the songs seemed to emanate from some cavernous subterranean chamber, drenched in reverb and surrounded by shorter pieces of bleak ambience and grinding noise. A sinister, often abrasive edge gleamed from that early material, but it also featured some of the most stunning darkwave anthems we'd heard in ages. And with their first proper full-length album, Troller have expanded on that sound even further, their sensuous, dread-filled pop encrusted with those huge, otherworldly synths and distorted, grinding bass roar, rumbling across crawling drum machines and washes of glacial Carpenterian electronics, gorgeously gloomy synthpop hooks gleaming in the dimly lit corners of Graphic, as Amber Goers' soulful, utterly bewitching vocals once again haunt Troller's tenebrous depths. Songs like "Not Here", "Torch" and "Storm Maker" shimmer with a malevolent majesty, while elsewhere the album slips into nightmarish electronic ambience and stunning expanses of black kosmische bliss. And while the band's noisier tendencies are more subdued this time around, there are still surges of corrosive sound throughout Graphic that materialize in dense feedback and jagged chords that are juxtaposed with the album's more beautiful passages. Combined with their penchant for provocative imagery and apocalyptic undercurrents, this produces something far bleaker and more unsettling than anything else we're hearing in the realm of industrial-damaged darkwave right now.


Track Samples:
Sample : TROLLER-Graphic
Sample : TROLLER-Graphic
Sample : TROLLER-Graphic


BOHREN & DER CLUB OF GORE  Black Earth  2 x LP   (PIAS Recordings)   28.98
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END  Nightmare Visions  CD   (Epic Recordings)   16.98
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Track Samples:
Sample : Corpse Fucker
Sample : Human Flesh
Sample : Meat Wagon


LANDLORDS, THE  Fitzgerald's Paris  LP   (Feel It Records)   18.98
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TERMINAL CHEESECAKE  Dandelion Sauce Of The Ancients  LP   (Box Records)   24.99
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Now sold out from the source.

Wasn't expecting to see a new album from these guys in 2016. Part of the same twisted UK noise/psych/sludge rock scene that brought us the likes of Godflesh, Fall Of Because, Skullflower (with whom they shared a member), God, and Sweet Tooth, Terminal Cheesecake were a weirder, noisier outfit heavily steeped in the din of classic psychedelia, but enfolded it within a crush of distorted guitars, sludgy riffage and blown-out mayhem that could really fry your frontal lobe. But these guys hung it up around the mid-1990s, their last album King Of All Spaceheads coming out back in 1994, and as the years have worn on, their stuff has become harder and harder to track down for collectors. It's great to hear 'em back in action, though, and their new album Ancients sounds heavy as hell, no surprise seeing as how they now have Dave Cochrane (God, Greymachine, Head Of David, Ice, Sweet Tooth, Transitional) handling bass duties. In fact, I'm trying to remember when these guys ever sounded quite this heavy. When the opener "Birds In 6/8" kicks in, that distorted bass comes in lurching blasts of low-end crunch, digging in with a mean hypno-riff as those echoing vocals and hypnotic drums and squalls of spaced-out guitar noise and Hawkwindian FX are splooged across the track. Pummeling and aggressive, that opener puts a neon-dyed boot right through your skull. And from there the album proceeds to slide further down the lysergic abyss, guitars exploding into fuzz-drenched serpentine riffage, molten chords turning black and gooey as they glom together into walls of gargantuan sludge, an arsenal of effects pedals all cranked to eleven, vocals echoing and shrieking and yelping through the cosmic haze. It's like some monstrous melding of Butthole Surfers and drugged-out, dundering doom metal on some of these tracks, the drumming shiofting between pounding tribal rhythms and slugfuck pummel, weird samples littered throughout the songs, the riffs primitive and droning. On "Song For John Pt 1", the band lumbers through a crushing psych-groove that sounds like a roid-raging Loop jam before it goes supernova in a blast of speaker-melting psychdrone, and the closer "Lord Jagged (The Chemical Teacake Quintet)" brings it all crashing down with a whacked-out assault of improvised free-rock violence.



WIND HEARSE  Trident  10" VINYL   (Klaxon)   17.99
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SAMHAIN  Live 1984: Stardust Ballroom  DVD   (Evilive / MVD)   14.98
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GREAT KAT, THE  Mozart, Beethoven, Bach And Shred  CD   (TPR Music)   11.99
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Ah, 2021. When the floodgates of the Great Kat Deluge truly and fully blew open, washing over us with over twenty-four different releases that year. And also when my Kat addiction went full-blown. There had been an almost ten-year break since the hyper-manic virtuoso's last release, and this new Covid-era resurgence brought us an interesting new twist on the Kat Attack. I'm pretty sure that Mozart, Beethoven, Bach And Shred was the first of that year's batch, and found the Shred Goddess adopting a more tongue-in-cheek look and approach, infusing her wild instrumental madness with a silly, almost Nick Zedd-esque fetish flick aesthetic and an absurdist sense of humor that pairs with her music nicely. Like almost all of her recent releases, this is a short EP (although Kat refers to these discs as "albums") that crams a ridiculous amount of neo-classical guitar shred into a short run time (this one coming in at just over twelve minutes), and even as short as it is, it's still a total sensory overload. In true Kat fashion, it's self-described as "the most genius album The Great Kat has ever released!. It's something else, that's for sure.

I still stand by my assessment that The Great Kat is textbook "outsider metal". The Juilliard trained virtuoso violinist (real name Katherine Thomas) appears to have no time for anything else going on in the realm of "metal", and seems to exist in her own unique sui generis bubble of boisterous, hyperbolic classical-influenced blast. Adapting the compositions of Baroque and Romantic-era classics by Beethoven, Bach, Vivaldi and Mozart to a kind of primitive speed metal backbone; this stuff is definitely the ultimate in ADD-afflicted speedshock. These aren't merely "covers" of the original symphonic pieces; rather, The Great Kat re-imagines them as screeching, hyperspeed shredfests where the central melody sits at the core of severely distorted guitars, rapid-fire violin, and a rhythm section that powers some of the songs into an almost industrialized thrash. For instance, "Beethoven's Moonlight Mosh " is a darkly romantic translation of the score for a volley of metal-as-fuck guitar solos, dipping into screaming dissonance. But "Mozart's The Marriage Of Figaro Overture" unleashes that weirdly mechanized speed metal assault while Kat goes ballistic on the guitar, layering her multitude of violin shred and biting guitar riffs over spastic, mecha-orchestral percussion that turns into a storm of blastbeats, while the original string arrangements soar overhead like a stream of ICBM missiles. It's insane. It's awesome. Likewise, "Bach's Air On The G String Mosh" marries layer upon layer of romantic melody over a grinding slo-mo doom metal backbeat. The melody of "Rimsky-Korsakov's The Flight Of The Bumble-Bee " is instantly recognizable, but this is even more berserk, with blasting drums that sound like they came off a raw black metal demo. The tempo on "Vivaldi's The Four Seasons” is pure thrash metal, heavy and aggro, the drumming sounding much more organic here, while the violin and guitars trade off licks back and forth; it's also the EPs longest song, at just over two minutes. She slows the pace for "Beethoven Mosh 2" to transform it into a mid-paced chug, heavy palm-muted riffing backing the lovely central hook, which ultimately ends up sounding like some metallized 1950's pop song. And closer "Paganini's Moto Perpetuo For Guitar And Violin” returns to the solo guitar / violin madness that kicked it all off, a barrage of speed-picking, whammy-bar abuse, and rapid-fire fret board runs that melts together into a frenzy of counterpoint melodies and borderline cacophony.

Completely bonkers. It's all purely instrumental, like most of her recent recordings. The production is raw and abrasive, which makes hearing these classical pieces sound even more berserk, especially when they are crammed into these ninety-second blasts of speed and shred. You either grok it or you don't - I'm terminally addicted to The Great Kat's unique classical blast-shred, and even moreso on the DVDs that she produces that incorporates insane can-can dancing routines and seizure-inducing video edits. It's unreal. Hail the Goddess Of Shred!



DOODSESKADER  MMXX : Year Zero  LP   (Isolation Records)   23.00
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Track Samples:
Sample : Lepers
Sample : Sunblind
Sample : Meat Suit


GONKULATOR  Reborn Through Evil  10" VINYL   (Fudgeworthy)   13.99
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Track Samples:
Sample : Excruciating Pain In The Form Of Religious Rubbish
Sample : Joseph - Son Of David
Sample : A Hell On Earth


HATH  All That Was Promised  CD   (Willowtip)   11.99
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Track Samples:
Sample : All That Was Promised
Sample : Decollation
Sample : Kenosis


BILLY CRYSTAL METH  Meth Metal  CD   (Mortville)   7.99
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Track Samples:
Sample : Abandoned Messiah
Sample : Room 101
Sample : The Wrath Of Sasquatch


MARS ON EARTH  self-titled  CD   (Red Stream)   6.99
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The one n' only release of seriously weird, militaristic, interplanetary black metal from this obscure German band, released on Red Stream back in 2001. The band members for this project purportedly claimed to be of Martian origin themselves, though checking out their entry in Metal-Archives.com reveal suspiciously German-soubding names for the trio, also printed on the back of the album. They definioterly\ play the Martian Warfare concept straight here, though. Even on their Archive page there's little other infortmation to be found, the booklet is just a collage of strange otherworldly hues and images attached to each of the four songs, and from start to finish this disc delivers you into a hostile and magnificent blastscape of epic, operatic proportions. Themed around a violent Martian takeover and apparent terraforming of planet Earth, these guys whip up a wild frenzy of industrial, symphonic, electronic and experimental spasms that emanate from a rigid black metal attack that moves at supersonic tempos. It's all drenched in an odd, futuristic-seeming atmosphere, even though the metal is obviously influenced by the greats of the Norwegian second-wave; the sound is informed by Anthems to the Welkin at Dusk-era Emperor, Arcturus, and maybe even Mayhem's then-new Grand Declaration of War.

With the title track dropping titanic martial snares, helicopters flying overhead, ominous dissonant strings, military artillery, screaming voices, and clashes of orchestral bombast, Mars gets right into the dreadful chaos of a hideous warzone, layiong out this bleak soundscape before the EP rips into the bleeping insanity of "Planets". That's where this gets really odd, as old-school science-fiction film electronic effects and industrialized clang are tasken over by a mechanical black metal assault, weird time signatures writhing under the scorched, off-kilter riffs, the rumbling double bass sounding like it might have been programmed, the singer's reptilian scowl delivering what I imagine are hateful declarations from the Martian warmachine delivered in German, the song dropping in and out as weird proggy bass guitar runs emerge along with electronic beats and abstract percussive grooves. The whole thing has this hulking, alien awkwardness going on, and then the X-Files-esque synthesizer melodies start to take over (not kidding). Actually, this whole disc is loaded with killer synthesizer craziness, lots of Moogy gurgle and prog-style wigouts, usually appearing as a weird non-sequitur amid the mechanized symphonic black metal. The other two tracks blend more martial drumming, short passages of Laibach / In Slaughter Natives style industrial might, soundtracky samples, portentious tolling bells, some very cool sung vocal parts (some of which stretch out for awhile to dramatic effect), and blasts of utterly spaced-out lunacy with what turns into some seriously heavy riffing (especially on the technoid monstrosity "Die Stadt Ist Im Krieg"). It's truly "cyber war music". There's sort of a similiar surreal spirit as Dodheimsgard's experimental stuff. Pity that they didn't do anything after this, I would have loved to have heard more of their bizarre experimental black metal and see it evolve and coalesce into what is clearly a pretty unique creative vision.


Track Samples:
Sample : Bleeding Underwater
Sample : Die Stadt Ist Im Krieg
Sample : Planets


SUBTERRANEAN SOURCE  Relic  CD   (Desolation House)   9.99
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Another acquisition from the remaining Desolation House catalog, which produced some iof the heaviest, darkest, and most metal-adjacent post-industrial music of the early 2000's. Subterranean Source was one of the heaviest and most malevolent-sounding artists to appear in that series, with 2008's Relic delivering an excellent and immersive descent into bleak and doom-laden ambient sound that any and all fanatics of Cryo Chamber / Cyclic Law / Malignant should be experiencing as soon as possible. The second of three albums from Italian composer Andrea Bellucci, this project grows more claustophobic and mephitic with time, and these five lengthy tracks surround you in slinking shadows and cavernous murk for fifty minutes; it's an inescapable listen, dense and oppressive sound swirling and blooming and wilting in almost complete and total darkness.

We drown fast in a slow-creeping fog of distant metallic clank and percussive rustling, sudden gasps of impaled choir voices, billowing black wind coming in from every diection at once, the thirteen-mi9nute opener "Pagan Moon" sprawling out around you like field recordings of a fire ritual held in an abandoed warehouse. The air is thick with activity, Bellucci colors thick within his lines of ambient form, shifting the sound constantly and adjusting the harshness of his textures, every few minutes introducing new elements like murky rhythmic loops, spectral and chantlike groans seeping up from deep below, the sound warping at some m,oments into a fetid mixture of Yen Pox's magnified blood-drones and Autechre-esque abstraction. That particular ability is one of Subterranean Source's signature moves, and distinguishes the project from much of the "dark ambient" underworld that it is generally grouped in. Just that first track shows a creepy complexity and rhythmic strategy that sets it apart from the dire, minimalist droneology of Lustmord, early Zoviet France, Gruntsplatter, and Lull. It's just as creepy and atmopsheric as any of that stuff though, as chilly and deeply reverberant as thhe early 90's "isolationists" and as evocative and occulted as the "ritual ambient" set; there's a good reason why Subterranean Source has enjoyed a varied following amongst underground electronic / ambient enthusiasts despite having released only three albums through its twenty-year existence.

The other four tracks making up Relic are a continuing descent into shadow and hypogeal movement. It's just immense, evoking these vast vistas of hollow-earth ceremonial sites and tectonic movements, metal scraping against metal while oblique bits of melody churn in the background. Sounds woven into repeating motifs and physical rhythms that suck you into this massive rumbling dronescape. Ghostly rasping and hushed whispers quickly come and go, while those oh-so-vague melodic elements start to reveal themselves as fragments of orchestral strings and mournful horns launched into the void. Deep monk-like chants surface briefly, then obliterated by waves of cavernous reverrberation. Roars of unseen, gargantuan machines toiling in the deep. Shimmers of sharp metallic sound rings out loudly over surges of electronic grime and more mysterious, inscrutable voices. Garbled electronics and delay-damaged rattlings tumble through what must be cold, fetid air. While i wouldn't say that Relic sounds evil, it is definitely a serious creepout, every moment of Bellucci's incredibly dense soundcraft emanting utter darkness and shadow, making them an almost living presence. Like his other albums, which are every bit as ominous and chilling as this, the shifting world of subterranean ambience feels like an event unfolding before your senses, becoming more hallucinatory with each passing moment. Consuming you. Dissolving you.

I mean, if you're the type who's entranced by the ritualuistic, impressionistic ambient sound of artists like Funerary Call, Herbst9, the Aural Hypnox artists out of Finland, Zero Kama, etc., I really can't recommend this enough.

And play it loud.



AMERICAN WEREWOLVES  (2022)  VIDEOCASSETTE   (Crucial Blast Video)   22.00
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The second entry in the new Crucial Blast Video line is a limited-edition VHS release of the gnarly 2022 Small Town Monsters documentary AMERICAN WEREWOLVES. Blending raw witness testimonies, some contextual folklore and anthropological commentary from researchers, and an increasingly mind-bending visual style that brings the encounters with the subject into a surreal nightmare reality, WEREWOLVES documents the bizarre "Dogman" phenomena, where people are unexpectedly encountering monstrous, bipedal canids, often in rural regions and often in proximity to early Adena-Hopewell mound-builder sites. Focused on encounters in Ohio and Kentucky, this film bridges the narrow chasm between run-ins with "high strangeness" and the irreal state of true horror.

Each year, dozens of encounters with what are described as “upright canids” are reported throughout North America. These beings often behave in similar ways, with many reports recounting a creature that is aggressive, ghastly, and disturbing. While many theorize that the “Dogman” is some sort of unidentified species of animal, many believe that what they were confronted with was something else.

Something more.

AMERICAN WEREWOLVES aims to explore an oft-overlooked aspect of American folklore. However, where previous STM films delved into similar subject matter by presenting the details of the phenomena through a panel of experts, authors, folklorists and investigators, WEREWOLVES leaves the storytelling to the witnesses. Comprised of around a dozen witness accounts, the film takes on this bizarre topic by leaving it up to the people who have experienced it to present it to the viewer The encounters discussed range from brief run-ins on rural country lanes to horrifying, face-to-face confrontations that seem like the stuff of nightmares.

Crucial Blast Video is proud to partner with Small Town Monsters to present this limited VHS videocassette of 2022’s AMERICAN WEREWOLVES, bringing this strange amalgam of regional cryptoid docudrama a la LEGEND OF BOGGY CREEK, surrealistic 80’s shot-on-video horror, and UNSOLVED MYSTERIES / SIGHTINGS-esque, made-for-tv production aesthetics to eerie analogue for the first time.

Limited to an limited run of 300 copies, this edition also comes with a twenty-eight page full-color booklet that includes a brand new essay on the film "Witness To The Hyper-Feral", psychedelic stills from the film, behind-the-scenes production photos, and "Stalking The Bestial", an interview with American Werewolves director Seth Breedlove.


The original film trailer can be viewed HERE



PORTAL  Hagbulbia  LP   (Profound Lore)   24.00
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COME TO GRIEF  The Worst Of Times  LP   (Fuck Yoga)   21.00
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NIGHT FEEDER  (1988)  BLU-RAY   (SRS Retro (Sub Rosa))   24.99
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CULT OF YOUTH  With Open Arms  CD   (Hospital Productions)   26.99
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POISON RUIN  Harvest  CASSETTE + 3" CDR   (Relapse)   9.99
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ENSLAVED  Hordanes Land (BRONZE AND BLACK VINYL)  LP   (By Norse Music)   39.99
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Track Samples:
Sample : Slaget I Skogen Bortenfor (Epilog / Slaget)
Sample : Allfr Oinn
Sample : Enslaved (Bonus Track)


CULTIC  Seducer (Expanded Edition) ( XXL )  SHIRT + CASSETTE BUNDLE   (Crucial Blast)   30.00
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Dark Dungeon Metal Overdrive!

Man, I was immediately obsessed with Cultic as soon as I heard 'em; their 2019 debut album High Command stomped me into the dirt with its visions of dark epic fantasy and primal death/doom. That album demonstrated Cultic's sure hand at grinding you into dust, their sound grounded in a fetid mixture of classic 1980s heavy metal, primitive death metal, Hellhammer / Celtic Frost, and a smattering of barbaric hardcore punk. But that pummeling style was elevated by its use of electronics, weird effects and post-industrial elements, turning their already sufficiently crushing and filthy death churn into something stranger, spacier, more otherworldly, perfectly encapsulating the feel and atmosphere that emanates from the band's stunning original artwork (from drummer Rebecca Magar, a talented visual artist and the force behind the art/design house Wailing Wizard). Fiery dragons and clashing medieval armies, eldritch monoliths and sinister sorcery - Cultic's album art evoked everything that I loved about the darker fantasy novels I read in my youth, backed by atomic hammer riffs, scowling vocals, vintage synthesizers, and dark martial bombast. That album and its 2022 follow-up Of Fire and Sorcery (both released on the band's own Eleventh Key label) featured a raw assault of vaguely psychedelic mid-paced Morbid Tales-damaged deathsludge, and from the early demos through to the latest album, Cultic has followed a contorted upward trajectory into ever-heavier, more down tuned riff-laden primacy.

In 2023, the band released the two-song Seducer EP through Eleventh Key. With new bassist Andrew Harris (also of Baltimore trad doom heavyweights Alms) joining the husband-and-wife team of Brian (vocals / guitar) and Rebecca (drums) Magar, these guys sounded more embittered, lustful, and just plain violent than ever. Ancient synths and gorgeous dark ambience, ethereal female vocals, and mesmeric dungeon industrial starts off the title track, then pulls the rug out from under you as the trio lunge out of the shadows with one of their heaviest riffs ever. The awesome screams and mocking, acid-tinged roars melt into the atavistic spaced-out doom-death as "Seducer" lumbers through more of those killer Moogy electronics and weird effects. It's ridiculously heavy in spite off all the bizarre hallucinatory audio swirling around. Then "Seduced" bathes you in eve more lush, grim keyboard sounds, the most kosmische kind of dungeon synth bliss, and once again the band scatters that bleary ether when they drop into another fucking scuzzy, spine-bending hunk of slo-mo death metal . It's terrific. These two songs have better production than previous recordings, while maintaining their raw, caustic filthiness. If these two tracks are indicative of what Cultic's next album is going to be like, god help us.

This expanded version of the band's Seducer EP includes the early demo version of "Seduced" which has its own alternate electronic charms, and reveals a much more primitive, caveman vision of that song. Like hearing early Cathedral jamming in some rickety, oil-stained garage, soused out of their gourds on dextromethorphan. It's rad. On the B-side, this release features several bonus tracks: first is the two-song Prowler demo from 2017, recorded when the band was just the original duo of Brian and Rebecca. Their first-ever recording, previously released on a now out-of-print CDR, Prowler sounds fully formed, just more raw and low-fi, and without the electronic elements that would later develop into their current sound. These two songs are crushers, "Cruel Orders" and "The Prowler" delivering those signature dark fantasy lyrics, trippy grunting vocals, and knuckle-dragging doom-death. In addition, the EP is rounded out by a feral 2018 live recording of "Conqueror" that unleashes the band's full war-wrath, and circles back around with a killer live 2019 recording of "Seducer" that's stripped down to its bulldozing basics.

Nearly forty minutes of primo gargantuan Gamma World barbarian death metal. So for an "EP", this Crucial Blast reissue crams in the goods. It's also beautifully designed by the band themselves: Seducer boasts more of Rebecca's striking, Frazetta-esque artwork, which perfectly captures the carnal violence of this music. It's one of the coolest looking tapes we've put out over here yet. I can't express how stoked I am to be working with this band, as I've been a longtime fan of the couple's work, both Rebecca's fantastic art and Brian's previous musical dark arts in the ritual black ambient / doom-drone outfits The Owls Are Not What They Seem and Layr. Can't recommend this band enough.


The release of the expanded Seducer EP on holy analog tape is further celebrated by this bitchin' brand-new Cultic shirt design, created specifically for this release. Featuring what might be my favorite Rebecca Magar art yet, the wicked three-color "Whip Seduction" shirt is printed by Forest Passage Printing on black Gildan 100% cotton garments, front print only.


This item combines the Cultic Seducer (Expanded Edition) Cassette with the "Whip Seduction" shirt, shipped together. This item will begin shipping the week of February 9th, 2024.


Track Samples:
Sample : Seducer
Sample : Seduced
Sample : The Conqueror (Live)


SATANS CHEERLEADERS  Hell Is For Hippies  CD + DVD   (Welfare Records)   14.99
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WORM OUROBOROS  What Graceless Dawn  2 x LP   (Profound Lore)   34.99
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GUILTY CONNECTOR  Gold Land Trash  CASSETTE   (Kitty Play Records)   7.99
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Track Samples:
Sample : Lies
Sample : Vain


SORE THROAT  Who Killed Gumby  CASSETTE   (Grind Today)   11.99
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Indonesian import - small tape l;abel is reissuing and releasing some really topo-notch and sought-after scumblasts

classic blast of late 80s what-the-fuckery

Here's where we get even earlier into Sore Throat's history, the band's first ever recording session, which ttook place in early 1987 in the bedroom of vocalist/bassist Rich Militia. Although you can really hear the hardcore/crossover element that these guys were diggin' in the riffs on these twenty-one songs, Who Killed Gumby is actually one of he most deranged and rabid and ICONIC "noisecore" recordings of its time. From the opener "Unrelenting Terror" through the doom-dirge crunch of "Satan's Radish" and closer "The End"'s bizarro hypno-thrash groove and riotous tin-can percussion while some toddler is hollering in the background as it all turns into an almost Hanatarashi-level earfuck, the session nukes your face with incredibly blown-the-fuck-out shit-fi thrashcore , the metallic guitar sound so trebly and buzzsaw-0sharp that tyou feel like it could cut right through you, tetanus-threat , but from there Gumby takes the idea behuind Napalm Death's "You Suffer" and extrapolates it into a berserk spew of mach-10 hardcore riffs and shapeless distorted guitar /drum splat, the drumming sounding like someone is banging on a cookie tin in the background, filthy septic distortion and demented guitar solos and puke-ready guttural grunts and almost unidentifiable bass-muck all splattered in every direction. This is some of the most primitive noisecore ever, improvised and out of its mind, total blurr insanity, with quick yelps and jokey jibes scattered throuygh it al;l; And then you get something like "N-OI-Se", which starts off with a killer catchy hardcore riff, teasing you with a semblance of a hook, but then goes ultra-haywire with everybody going in different directions before finally coming back to that hook, while "I.C.I. Fuck Off And Die" bangs out a wicked thrashcore riff and disgusting vocal vomit; at two and a half minutes, it's a veritable epic comared to the rest of the tracks, but halfway through it, like its companions, collapses for a mid-section of total clunking noise amd random instrumental abuse. That "drumming" I mentioned? It's absurd - it's metallic clatter, not sounding like a drum kit at all

this is where so many noisecore bands would develop their energy from, but at the time this was absolutely avant-garde nonsense

mixed up with assaults of bone-crunching mid-tempo riffing that, for a moment, could be mistaken for early Celtic Frost collaborating with Hanatarash.

Dadaistic hardcore / metal / noise pushed to the absolute limit of comprehension, and beyond

"Holocaust" sounding closer to the extrme chaos of the contemporaneous Kapanese noise underground

It's all hilariously funny to me, and the idea that this led to a record deal with a label like Earache bends my mine

the most raw recording I've ever heard from Sore Throat

The B-side has a 1998 performance from Cardiff, UK, soundboard recording, big mix of songs from throughtout their existence as well as loads of their typical joking around, over-the-top apelike vocalizations, bumbling crusty heaviosity. It's raw and awesomely burly, running about half an hour, the audience is cleaely having a blast, is clearly sauced up quite nicely, and sounds like they are already in the midst of damaging some things, at the very least each other.. and the energy of a moshpit virtually wafts off od this side of the tape. A killer, blow-out and appropriately low-fidelity recording captures this stream-of-stench, banging their way from barbaric Frostian crustmetal to insane hypersonic grindcore to brief fuckaround reggae jamming to maelstroms of total improvised blurr destruction and straight-up mockeries of Napalm Death. Even though I can't understand one goddamn word they are saying, this is one of the best live documents of Sore Throat I've heard.



BORBETOMAGUS  Borbetomagus: A Pollock Of Sound  DVD   (MVD)   17.98
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INCANTATION  Sect Of Vile Divinities  CD   (Relapse)   11.99
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OLD  Formula  CASSETTE   (Earache)   11.99
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Early on, Old (or Old Lady Drivers, as they were initially known) were avant-garde grindcore upstarts, early members of the Earache roster who released the weirdest albums that the label put out during their classic death metal period. Each new record from OLD continued to evolve further and further away from their early goofball thrash, though, and by the time the band released their fourth and final album Formula in 1995, they had transformed into something completely different from the goofy Zorn-influenced grind of Old Lady Drivers and Low Flux Tube. By this point, OLD were playing a kind of futuristic industrial space-rock/prog-pop that was marked both by guitarist James Plotkin's shimmering guitar textures and the bizarre robotic singing of vocalist Alan Dubin. There is nothing else on Earache like Formula, and even fifteen years later, this still sounds like it came from another dimension. Indeed, this album has become pretty obscure in the years since it's release, even though it's one of the best records that I've ever heard form these musicians. Nowadays, we usually see OLD appearing as a footnote in discussions of avant-doom metallers Khanate, but their discography is worth checking out if you're into James Plotkin's work and the weirder fringes of the early 90's grind scene.

When 1995 rolled around, OLD's new sound was sort of comparable to UK psych rockers Loop; there's a similar spaced out, cyclical, locked-groove quality to many of the riffs and songs on this album, but it's also incredibly "synthetic" sounding, the guitars taking on an almost industrial sheen, and everything has some level of processing that makes it sound like we're hearing this weird industrial rock actually being performed by robots.

The opener "Last Look" starts the album ambitiously with an eleven minute saga that, at first, sounds almost Voivod-ish, dissonant guitars and robotic vocals and strange melodic riffing, weirdly poppy, then after a brief interlude of sampled and cut-up/looped classical music the band reforms into a lumbering, spaced-out industrial jam, almost like Godflesh or Loop but a lot spacier and loaded with electronic effects and psychedelic noise, with the vocoder vocals coming in heavily, then spirals into an otherworldly bliss-out of synthesizer ambience. Hearing Dubin's vocals on this, it's hard to believe that this is the same throat that later produced the grueling vokill horror of Khanate, but here his voice is processed into a sort of vocoder mantra that drifts like some angelic computer chorale through Formula's hypnotic industrial prog. The next song "Break [You]" is heavier droning machine-pop with more of those mantra-like vocoded vocals, sheets of epic space guitar and shimmering chords, and pounding drum machines that continue to slam and throb with a Godflesh-like relentlessness. "Devolve" wields brutally mechanical drum machines and some surreal vocalizations from Dubin, and "Underglass" shifts into gorgeously hypnotic pop majesty.

The last three songs on Formula are the most aggressive on the album. "Thug" delivers a mind-melting mix of industrial pummel that's intercut with samples of Plotkins old hardcore/grind band Regurgitation and smatterings of delirious techno. "Rid" is the heaviest, hardest track on the album, channeling crushing Godflesh grind into a loping hypno-rock jam that gallops along on dense sheets of glorious processed guitar roar. The closer "Amoeba" is an eight minute instrumental that mixes up techno production tricks, hammering machine rhythms, and wash of processed guitar effects and amplifier drone that reminds us of Kevin Shields. It's easy to see the connection between this and what Plotkin would be doing with his first post-OLD solo album "Joy Of Disease" a few years later.



DEAD REPTILE SHRINE  N.t.K  CASSETTE   (Antihumanism)   6.98
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Back in stock, found a few in the pit.

    

Just dug up a couple copies of this cassette from bizarre one-man Finnish outsider "black metal" outfit Dead Reptile Shrine, a band whose sound continues to bewitch and bewilder every time I listen to 'em. One of several Dead Reptile Shrine cassettes that were released by the now defunct Antihumanism, N.t.K. first appeared as a similarly limited CDr back in 2002, one of the band's very first releases. And it's a total brainwarp, opening with a weird shambling dirge of primitive percussive thud amid squealing feedback and distressed noise, an almost industrial-style intro that lurches beneath sinister whispered voices as "Nokturnal Thelema Krusifixion" gradually winds down into a rickety improvised dirge.

It's only with the second track "Rotting Flesh Laid On Altar" that Dead Reptile Shrine kicks in with his demented take on black metal, as the music swells up into a murky, low-fi racket of sludgy riffing, howling chantlike vocals and sneering shrieks all over that perpetually deranged drumming that perpetually falls in and out of time. It's a perfect example of the band's brain-damaged black metal, the music often degenerating into a shambling mess that still manages to possess a strange psychedelic quality, and as the album goes on, it delivers a weird kick akin to hearing some satanic outsider improv-folk outfit on ESP Records shot through with meandering distorted guitars and snarling rat-vocals.

     There's some gloriously tuneless stuff on here that's like the Shaggs (a band that they've been compared to before), slow, plodding black metal riffs collapsing into drooling mayhem, the vocals truly demented as they slip in and out of that fucked-up chanting, but those moments where it all comes together have a crushing, retarded power that I totally adore. Some songs erupt into noisy blasts of blastbeating drums and mangled blackened guitar, tornadic swarms of chaotic violence, only to give way to rambling, reverb-drenched folkiness, long stretches of mesmeric dungeon ambient or bursts of plodding, drunken hardcore punk, sometimes backed up warm, minimal synthesizer chords and laced with freeform guitar plucking, or wandering into ultra-abrasive stretches of over-modulated noise overlaid with traces of epic orchestral music ...and songs like "Power From Blasphemous Intent" twitch and blast with a hideous discordant violence that's as brain-scrambling as anything from later Havohej.

There's a twelve minute track on the b-side called "Of Silence, Sickness & War" that's also noteworthy, delivering a languid, shadow-streaked psychedelic jam that emanates a ghostly, murk-drenched atmosphere all its own. It's fucked. Raw and rambling and exquisitely messed-up. But in all this chaotic craziness, there's some amazingly catchy melodies that creep out of the seemingly random riffery and improvised din, a brilliantly brain-damaged strain of garage-grade necro-psychedelia that I can't get enough of, for fellow fans of the most demented, delirious outre black metal only...


Track Samples:
Sample : DEAD REPTILE SHRINE-N.t.K
Sample : DEAD REPTILE SHRINE-N.t.K
Sample : DEAD REPTILE SHRINE-N.t.K


RAMLEH  Be Careful What You Wish For  CD   (Sympathy For The Record Industry)   15.99
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Track Samples:
Sample : Ohio Impromptu
Sample : Seattle Nun Trailer
Sample : Chicago Balloon Riders


ASH BORER  The Irrepassable Gate  CD   (Profound Lore)   13.98
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GASP  Sore For Days (Demo 96)  LP   (Haunted Hotel)   24.99
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NUCLEAR DEATH  For Our Dead / All Creatures Great and Eaten  CD   (Dark Symphonies)   11.99
For Our Dead / All Creatures Great and Eaten IS CURRENTLY UNAVAILABLE FOR ORDER

Finally, we get some high-quality CD reissues of the early Nuclear Death discography, featuring the same material featured in that massive four-LP boxset that came out a couple of years ago, spread out across two CD releases from the recently revived Dark Symphonies imprint. These discs are a marked improvement over the previous CD reissues that came out in the early 2000s, now pairing up the albums with additional demo material that further fleshes out each pustulent period of Nuclear Death's evolution into the psychedelic vomit gods we know and love. And man, this stuff still sounds as extreme as ever. Coming out of Phoenix, Arizona in the late 80s, Nuclear Death stood out in the burgeoning extreme metal underground with a twenty-something girl named Lori Bravo on vocals and bass who sounded like hell unleashed, her voice swooping from monstrous guttural growls to bizarre wordless vocalizations to killer falsetto screams. Backed by drummer Joel Whitfield and guitarist Phil Hampson, Bravo led the band through an inchoate nightmare of grinding, ultra-noisy death metal that started off as a more thrash-influenced sound, but which had evolved into one of the weirdest death/grind bands of its era by the release of their legendary 1991 album Carrion For Worm.

This much-needed Nuclear Death reissue campaign continues with Dark Symphonies' new release of For Our Dead / All Creatures Great and Eaten, a collection of early 90's material from the Arizona death-mutant cult. Originally released together as a bare-bones disc by Extremist in 2002, this compilation marks a significant shift in the band's sound, from the grinding chaos of their early work towards a more experimental (but no less extreme) direction. This might be my favorite era of the band; the All Creatures Great And Eaten tape alone stands as one of the weirdest and most insane-sounding death metal releases of the era, a violent mutation of their earlier sound.

a foul melange of psycho-sexual dread, extreme body horror, bizarre fairy tale imagery, the lyrics are fantasticlly vile, some of my favorite death metal lyrics ever.

1992's All Creatures Great And Eaten was the band's third album, though it only clocked in at just over twenty minutes. Released on cassette through the band's own Cats Meow imprint, Eaten found the band reduced to just a two piece, with Lori Bravo taking over all guitar duties in addition to vocals and bass. This resulted in a noticeable change in the band's sound, as the grinding death metal riffs mutate into more discordant, abrasive forms, and a sickening dissonance permeates all of the music. Steve Cowan's drumming remains savagely aggressive, but this new material generally sounds even more psychotic than before, Bravo's deformed guitar bringing an almost No Wavey abrasiveness and ugliness to their already quite hideous sound. Songs become writhing masses of downtuned abstract guitar noise and lurching, off-kilter rhythms. Weird spacey electronics and cosmic slime swell up from the depths, leading into eruptions of severely drug-addled improv. Effects pedals are cranked over deformed doom-laden concrete-mixer riffs. And a layer of vile, rumbling noise materializes beneath many of the songs, adding to the harsh, hallucinatory atmopshere. It's one of the most horrific slabs of avant garde deathnoise from the decade, almost sounding like some gruesome Skin Graft outfit at times, but constantly spiralling out into total madness as Bravo's snarling vocals become more and more distressed and demented.

First released on notorious label Wild Rags, For Our Dead features just four songs, terrorizing from start to end; blown out, utterly monstrous death metal whipped up into a near noisecore-like blur of blastbeats, vomitous shreiks and primitive riffage, only occasionally slowing down into a skull-flattening dirge or sprawl of nauseating feedback. Ridiculously noisy at times, there are moments like "The Third Antichrist" that turn into a weird, almost industrial-tinged ultra-heaviness that shifts between psychedelic deathsludge and sheer Merzbowian chaos. Some of these riffs are perversely catchy, though.

As with the other recent Nuclear Deat reissue CDs, Eaten is limited to one thousand copies, featuring the original, amazing artwork and new liner notes from Lori Bravo.



CAVE IN  Until Your Heart Stops (REISSUE - EXTENDED EDITION)  3 x CD   (Relapse)   16.99
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Track Samples:
Sample : Halo Of Flies
Sample : Moral Eclipse
Sample : The End Of Our Rope Is A Noose
Sample : The End Of Our Rope Is A Noose (Demo)
Sample : Mr. Co-Dexterity (4-Track Demo)
Sample : Ebola (God City Demo)
Sample : N.I.B. - Steve Lead Vox (God City Demo)


CELTIC FROST  Into The Pandemonium (Deluxe Reissue)  2 x LP   (Noise)   39.99
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SUBROSA  For This We Fought The Battle Of Ages  CD   (Profound Lore)   13.98
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CARPENTER, JOHN  FireStarter (Original Soundtrack - BLACK VINYL)  LP   (Sacred Bones)   21.00
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INTEGRITY  Those Who Fear Tomorrow (2022 Edition)  LP   (Relapse)   21.00
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CARA NEIR  Stagnant Perceptions  CASSETTE   (Broken Limbs)   7.99
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Been getting into this Texas band's brand of frantic blackened hardcore more and more, largely through their killer cassette titles that Broken Limbs has been issuing over the past year or so. First heard 'em on that killer split with blackened noise-doom mutants Venowl, but here we're finally getting a full length from the group, a reissue of a super-limited CDR they self-released a while back. And Stagnant Perceptions is even better than the stuff I've heard up to this point, delivering eleven short, punchy tracks of blistering, despairing hardcore that seems to draw equally from the more miserable fringes of black metal, the harsher edge of 90's emo, and a big dose of filthy, stench-filled grindcrust. Don't get spooked by the "E" word, though. Where I'm hearing that is in Garry Brents's use of jangling, dissonant guitar chords and brief breaks where the band's furious blackened thrashpunk suddenly swerves into muted, almost solemn melody while singer Chris Francis shreds his larynx over top, moments that are reminiscent of harder-edged stuff like Pg.99 and Saetia. These guys whip up a killer sound here, and the recording quality is the best yet from 'em, powerful and punchy and huge, especially considering that you're hearing a duo.

There's some great, technical guitarwork in here in addition to some hauntingly tremulous melody weaved throughout the songs, alongside bursts of absolutely savage blackened grindcore (which are aided by guitar and vocal contributions from Dorian Rainwater from Noisear/Phobia), and some of the guitar parts bring an almost mathy quality to certain parts of the album. Definitely not just another Trap Them / Young And In The Way clone, Cara Neir deliver their own distinctive strain of black metal-influenced hardcore, possessed with a frantic, frayed energy and a subtle progginess (especially in the rhythm section) along with a couple of moments where the band suddenly swells into awestruck beauty and majestic melody that's reminiscent of the likes of Fall Of Efrafa and Agalloch, all of which come together to really set it apart from the hordes of other bands working within this realm. Not to mention, the songs themselves are pretty goddamn catchy. This is definitely a band that fans of stuff like Young And In The Way should be checking out. Limited to one hundred copies.


Track Samples:
Sample : CARA NEIR-Stagnant Perceptions
Sample : CARA NEIR-Stagnant Perceptions
Sample : CARA NEIR-Stagnant Perceptions


BISHARA, JOSEPH  Insidious Chapter 3 (OST)  LP   (Void Recordings)   22.00
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Back in stock.

Now available on limited-edition vinyl, includes a download code.

The latest foray into horrific soundscapes from composer Joseph Bishara, this new score follows his third time constructing the frightening sonic backdrop to the popular Insidious series, which has updated the "family under assault by demonic forces" storyline first seen in Poltergeist to a modern, more unsettling setting. A former member of the early 90s industrial metal outfit Drown, Joseph Bishara has made a name for himself in recent years as the go-to guy for some of the better horror films currently coming out of Hollywood, drawing from the atonal modern classical music of composers like Ligeti, Crumb and Penderecki and combining that influence with contemporary electronic and experimental textures to create some of the creepiest film music being made right now. I was already a fan of Bishara's previous scores for the Insidious films, The Conjuring and Dark Skies, but the direction he would take for this new project was particularly enticing. For his score to the third installment in the Insidious series of films, Bishara teamed up with legendary metal drummer Dave Lombardo (Slayer, Fant�mas) and pianist/composer Saar Hendelman to create these jet-black soundscapes, which is featured on this album as twenty-two tracks that plunge into a nightmarish sonic realm of low, rumbling percussive sound and distant ostinato strings giving way to violent, shocking blasts of orchestral dissonance, quieter sections where those muted strings drift hazily over minimal piano, or dissipate into abyssal dronescapes; violins are manipulated and molested, producing sickening glissando notes that slither and writhe through cloudy masses of low-end electronics and reverberating metallic noise; ghostly atonal melodies slip in and out of view, drifting out of the void to reveal themselves in brief glimpses before being swallowed up again in the blackness; murky electronic rhythms bubble in the depths of the mix, looping patterns that seethe on the periphery; and there are sequences of stygian ambience here that rival anything you'll find on labels like Malignant or Cyclic Law.

Like most of my favorite scores, the sudden blasts of volume and intensity make for a terrifying listen even when separated from the film's demonic imagery, which reaches a feverish intensity whenever Lombardo's abstract drumming enters the fray, often appearing in controlled bursts of rumbling percussive sound that punctuate the louder, shocking eruptions of those fearsome strings, or producing slow, sinister swells of cymbal washing over quick, improvisational flurries of drumming; it's an exercise in skillful tension building, even the more emotionally poignant moments of Bishara's score seem to have a lingering sense of dread, like the haunting, lyrical "Questions Left Behind" and the gorgeously moody "Friendly Face"; utilizes sleek modern composition and experimental techniques, there's a definite post-industrial tinge to this music. One of the better modern horror scores, in the same terrifying league as Roque Ba�os's fantastic Evil Dead score.


Track Samples:
Sample : BISHARA, JOSEPH-Insidious Chapter 3 (OST)
Sample : BISHARA, JOSEPH-Insidious Chapter 3 (OST)
Sample : BISHARA, JOSEPH-Insidious Chapter 3 (OST)


BLASPHEMY  Live Ritual: Friday The 13th  CD   (Nuclear War Now! Productions)   13.99
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GOST  Non Paradisi  2 x LP   (Blood Music)   29.99
Non Paradisi IS CURRENTLY UNAVAILABLE FOR ORDER













VOIVOD  Killing Technology (Deluxe Reissue)  2 x CD + DVD   (Noise)   19.98
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TROLLER  Graphic  CASSETTE   (Holodeck)   7.99
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Back in stock.

After a nearly four year wait, this doom-laden darkwave outfit from Austin, TX has finally returned with the follow-up to their acclaimed eponymous debut. It was there that the band introduced their lush, lugubrious sound combining heavy synths, slow-motion rhythms and haunting vocal melodies, woven into infectious, brooding blasts of darkpop perfection; the songs seemed to emanate from some cavernous subterranean chamber, drenched in reverb and surrounded by shorter pieces of bleak ambience and grinding noise. A sinister, often abrasive edge gleamed from that early material, but it also featured some of the most stunning darkwave anthems we'd heard in ages. And with their first proper full-length album, Troller have expanded on that sound even further, their sensuous, dread-filled pop encrusted with those huge, otherworldly synths and distorted, grinding bass roar, rumbling across crawling drum machines and washes of glacial Carpenterian electronics, gorgeously gloomy synthpop hooks gleaming in the dimly lit corners of Graphic, as Amber Goers' soulful, utterly bewitching vocals once again haunt Troller's tenebrous depths. Songs like "Not Here", "Torch" and "Storm Maker" shimmer with a malevolent majesty, while elsewhere the album slips into nightmarish electronic ambience and stunning expanses of black kosmische bliss. And while the band's noisier tendencies are more subdued this time around, there are still surges of corrosive sound throughout Graphic that materialize in dense feedback and jagged chords that are juxtaposed with the album's more beautiful passages. Combined with their penchant for provocative imagery and apocalyptic undercurrents, this produces something far bleaker and more unsettling than anything else we're hearing in the realm of industrial-damaged darkwave right now.


Track Samples:
Sample : TROLLER-Graphic
Sample : TROLLER-Graphic
Sample : TROLLER-Graphic


BOHREN & DER CLUB OF GORE  Sunset Mission  CD   (PIAS Recordings)   16.98
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END  Subhuman Tracks  CASSETTE   (Epic Recordings)   10.98
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Track Samples:
Sample : Point Zero
Sample : Future Graves
Sample : Daughter of Satan


LIVING CURRENCY  Hideous Process Demos  CASSETTE   (Personnel Records)   9.99
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Another recent-ish one from the Seedstock sub-label Personnel operated by Marco Del Rio from Raspberry Bulbs and Bone Awl, and probably the most malevolent sounding of 'em all. That name is presumably a reference to Klossowski, the English translation of the title to the French philosopher's 1970 book La monnaie vivante , which, among other things, acted as an exploration into what he referred to as the "libidinal economy". That is kind of the impression I got when looking over this thing and seeing song titles like "Labor Orgies", "The Coming Chemical", "A Martyr's Trophy". Of course, i could totally be making that shit up. You never know. Anyways, a familiarity with the fringes of late-20th century French negativism is hardly a prerequisite for enjoying this hand-made tape of deeply warped pleasures. Presented on an unmarked black cassette in a hand-stamped fold-out cover, in an edition of two hundred copies, Hideous Process uncrates a small horde of bizarre and spontaneous death-punk, ratty and soiled, six skeletal songs that creep into your ear canal.

The label (and band themselves, I suppose) self-describe Living Currency as a "post punk band", which isn't inaccurate. It just feels like post-punk from an adjacent reality being performed by terminally disheveled entities. Process offers up a intoxicating combination of repetitive percussive pummel, and ghostly minor-key melodies that drift from what is presumably a guitar, though the sound quality is so murky and degraded that it's really difficult to ascertain where these sounds are coming from. And that's what makes this so alluring to me - these songs are so primitive and seemingly formless that they take on an unearthly, almost ritualistic quality. That clanking, muffled pounding in the background sounds mostly like someone hammering slowly and monotonously on an old, rusted oil drum, while the guitar wheezes and wails and drifts upward into the rafters with its meandering, gloomy lines, often manifesting as little more than a series of droning, wavering notes, and while that is going on in the song, you hear faint, murmured voices creeping furtively on the periphery on the music, a haze of whispers and hushed recitations, almost hidden from the listener until they are suddenly thrust forward and become a bold chant, or a scathing reptilian rasp. The overall delivery is pretty raw, with some songs suddenly cutting off without warning, and others starting from what feels like an arbitrary point. But again, this is a feature and not a bug of Living Currency's deformed and emaciated dirges. When you finally get to the last song "Mortal Effigy", the sound becomes slightly more musical as a woozy, mournful melody takes shape over that same simplistic, primitive metallic pounding, and in this final reveal, sounds all the world like some ancient death-rock outfit armed with nothing but sheet metal and an out of tune guitar, passing time after being walled up in some hidden underground chamber.

This is one strange tape. And I can't get enough of it. More than anything, the six songs on Hideous Process remind me of some of the most abstract and ambient projects from Les Légions Noires, the shambling, industrial-tinged gloom sometimes reminiscent of Moevot, for example. Weird stuff, for sure. But there's definitely a recurring post-punk quality throughout, smearing that ghastly low-fi LLN-style blackened weirdness with a sorta-Neubaten-esque clang and wizened, moth-eaten death rock. For the record, I fucking loved this tape.



THOUGHT BROADCAST  Social Acid  CASSETTE   (Personnel Records)   7.99
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HALSHUG  Drom  LP   (Southern Lord)   16.98
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REDRIGHTHAND  They Sang And Chanted For Hours, Then The Locked In Hundreds Set Themselves Ablaze  CD   (At War With False Noise)   11.99
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Track Samples:
Sample : A Bodiless Heart
Sample : Like Gold Debased, Like Shit
Sample : The Angel Of Silence


GREAT KAT, THE  Guitar Goddess  CD   (TPR Music)   6.99
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DREAMS FOR DEAD CATS  Short Films Collection 2010 - 2018  DVD   (Dreams Of Dead Cats Productions)   9.99
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BOBBY  British Shootfight  CASSETTE   (TPOS)   5.99
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Track Samples:
Sample : Die Fancy Lad!
Sample : Brush, Hold, Strike!
Sample : Fish And Chips, Boots And A Badge


HATH  All That Was Promised  2 x LP   (Willowtip)   31.00
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Track Samples:
Sample : All That Was Promised
Sample : Decollation
Sample : Kenosis


CAVEMAN CULT  Supremacía Primordial  10" VINYL   (Larval Productions)   14.99
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Track Samples:
Sample : CAVEMAN CULT-Supremacía Primordial
Sample : CAVEMAN CULT-Supremacía Primordial
Sample : CAVEMAN CULT-Supremacía Primordial


MEGASCAVANGER  As Dystopia Beckons  CD   (Selfmadegod)   13.98
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One of my all-time favorite sounds is industrial-death metal, stuff like Crawl, The Berzerker, Landfill, and the really early Fear Factory stuff. Oh man, nothing beats that older-style death metal riffing and crushing massiveness being welded to a gruesome, blighted structure of programmed drumming and electronic sounds. For me, the dehumanized clang of industrial music makes for a potent bedfellow with the monstrous heaviness of death metal, but even back when it was a "thing", too few bands attempted to combine the two, even less managing to pull it off successfully. So unfortunately, there's been a real dearth in this kind of stuff since the late 90s; I'm very stoked on the whole "industrial metal" revival that seems to have been going on these past few years with newer bands like Uniform and Black Magnet, both of which I love, but that doesn't seem to have extended into the writhing, tentacled realm of death metal lately. Enter the Swedish duo Megascavanger, who have tapped right into this sound with their As Dystopia Beckons, and boy am I here for it.

This nine-song disc hits with ioncredibly killer, crushing stuff, and apparently quite different from the band's previous releases. The other Megascavanger releases I've listened to have been pretty firmly rooted in a classic European death metal style, so this album here looks like an anomaly or one-off experiment. I dunno. But regardless, their penchant for the sound of pummeling Swede-death riffage and saturated guitar distortion is definitely a constant carryover from the rest of their stuff, as is their use of multiple guest vocalists. Their brand of cudgel-crushing, blood-spattered heaviness and looming dark melodic hooks ports right over from previous album At the Plateaus of Leng. But that sound is now joined by a host of electronic and industrial elements that transform the band's hulking caveman death into an abrasive, machine-infested mutation; it's all Borg-ed out. The songs are still straightfoward, rooted in traditional Swedish death metal chuggery, with the occasional mid-tempo melo-death diversion, and an awesomely abominable bass guitar tone. But all of that is also surrounded and layered and grease-smeared with an array of sputtering drum machines and pneumatic mecha-rythms that punch a hole right though your skull, tossing out bursts of frenzied slithering drum n' bass, clanging steelworks, Sega-esque orcheestrations, slobbering technoid chaos, blasts of vintage techno synth and trippy electronic effects. It's alot to take in. And the band closes this whole blast of short-circuiting synthetic barbarity with the title track that, more or less, turns into a kind of bestial power electronics assault. Man, I've been waiting on something like this. It sounds colossal. And it's catchy as hell.

And yet there's a lot of variety happening here. For starters, you've got the constantly changing lineup of vocalists that add a certain manic energy to everything; the roster is pretty wild, with Sven Gross (Fleshcrawl), Aadrie Kloosterwaard (Sinister), David Ingram ( Bolt Thrower / Benediction ), Jocke Svensson (Entrails / Birdflesh ), Teddy Möller (Anima Morte / F.K.Ü. ), Kam Lee (Massacre / Mantas), and of course regular Megascavenger frontman Brynjar Helgetun. The songwriting is pretty eclectic: standouts include the rocking death n' roll of "As The Last Day Has Passed" and "The Harrowing Of Hell", both of which sound like they could have been an Edge Of Sanity b-side, the latter tapping into what sounds like a Fields Of The Nephilim/Sisters Of Mercy infatuation (with Kam Lee doing a heluva job of channeling Carl McCoy ! ). The savage kill-droid blast of "Steel Through Flesh Extravaganza" threatens to morph into gabber-like violence. And so on. Those synthetic and electro elements might turn off death metal purists (as might the occasional "gothy" touch), but at the same time this album isn't nearly as fucked-up or warped sounding as bands like Whourkr or Noism, nor as overall mind-blowing. If you were to scrape away all of the alien electronic textures, violently fracutred beats and clanking rhythms, you'll find an unmistakebly atavistic death metal attack underneath it all. That also means that as an album As Dystopia Beckons is a little uneven, some of the electronic elements working better than others, but being a total sucker for this sort of mechanized cyborg deathroar, I went nuts for this.


Track Samples:
Sample : The Harrowing Of Hell
Sample : Dead Rotting And Exposed
Sample : Rotting Domain


SUBTRACTION, THE  The One Who Infests Ships  CASSETTE   (Land Of Decay)   8.99
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A curious, unassuming 2012 cassette from one of the many alter-egos of the fleshmass behind longtime faves Rectal Hygienics and Abuse Patterns, high-ranking sleaze-pushers outta Chicago's scum-noise underground. But that's not what we're finding here, on this tape from Land Of Decay; I miss this label, the guys from Locrian who ran it had exquisite taste in boundry-nuking experimental sound and sinister aural entropy. This Ships tape has gotta be one of the most relaxing things that LOD ever spewed out though. It's a duo, Omar Gonzales (Rectal Hygienics, hell yes) working a mixture of tape noise and electronic sounds, Jason Soliday handling modular synth - both of these guys had also worked together in the malefic noise collective Winters In Osaka, so you go into this expecting to be licked by something in the abyss at some point. But the three songs that fill this out are also incredibly languid shadowscapes, benzo-soaked wanderings through a blighted urban waste, each one meditative in its own way.

Wouldn't quite call this "dark ambient" in the classic sense, though fans of the grittier and more abrasive artists in that field are gonna dig Subtraction. It's noisier than that. The strange coastal atmosphere starts out calm and pulsating and increasingly menacing as "Noden's Breath" crawls across the entire twenty minute A-side. Blending distant industrial rumblings and metallic reverberations with washes of caustic distortion, crackling filth, bizarre blown-out howls, mysterious percussive sounds, and peals of muted feedback, these guys wrap you up in a thick shroud of threatening dark drift, the sounds so thoroughly buried beneath a layer of low-end murk that it all swirls together into a bleakly beautiful mass of shadow, primed to birth some kind of nautical night-terror. That A-side is primo "death drone".

Things turn uglier with "The Violet Gas" and the title track, that brackish, fetid atmopshere and wafting electronic drone getting infested with bursts of rhythmic insectile chirping, whirling metallic loops, a deep and omnipresent heaviness slowly throbbing in the deep. Some of the more abrasive noises on the flipside almost touch upon power electronics territory sans anything resembling human vocals. But again, it's all slowly shifting and swirling, a weird fog of looping rhythmic samples and humming dread and creepy bits of static crawling all over everything, building in density and sprawl as that title track takes over the tape, a massive squall of hypnotic and menacing drone-noise that explodes into grinding intensity before stripping away once again to a spare, textural drone for a spooky coda .

The goddamn tape looks like it could be some bland New Age stuff, but Ships is actually a nicely unsettling gust of diseased electronics, driven by that pulsating pox-riddled synth.



GASKET  Noumenal Field Recordings / Tierra Y Voluntad (Land And Will)  CASSETTE   (Crucial Blast)   9.00
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This self-described "garage band" from McAllen, Texas showed up on my radar earlier this year and comprehensively smashed my skull into fragments. Looking back at the Youtube upload that the band did for their debut Noumenal Field Recordings EP (released online at the very end of 2022), I had commented the following: "...holy fucking shit, is this awesome.

Like someone crammed early Sore Throat, Harry Pussy, and The Stooges into a malfunctioning Cuisinart. I'm in heaven .". You know what? I'm still in heaven.

Sink your teeth into this hunk of rotted meat. The Noumenal Field Recordings EP hits physical media for the first time here, paired with the previously unreleased Tierra Y Voluntad (Land And Will) EP, and both sides of this machine will fuck you right up. Just like I spewed all over that video comment section months ago, Noumenal Field Recordings rips through eleven songs of blown-out aggression that effortlessly walk the line between classic early 80s three-chord hardcore and heavy doses of Brainbombs / GG Allin - level sludge-punk barbarity that you can smell from here. Onto that feral sonic assault, the band wields feedback-screaming slabs of freeform noise rock in the Harry Pussy vein, blurts of brain-damaged Casio weirdness, obnoxiously catchy hooks, and barbs of clotted noisecore that hit and run faster than you can even try to catch the plates. This shit is no joke, even when it sounds like the band is having an absolute blast. That first EP is so ugly, so mangled, so fucked up, and yet so weirdly literate, with nods to Nick Land, Marx and Thoreau. The lyrics are fantastic, too. Which is doubly confusional since it seems that these songs were written on the spot, recorded live and apparently totally off-the-cuff and improvised in that aforementioned McAllen garage. Blows me away.

And that B-side Tierra Y Voluntad (Land And Will) is even weirder and more scathing. More shit-fi droning HC and shreiking, bloodthirsty vocals collide with bizarre backing roars and inexplicable noise, sampled speeches giving way to boombox-grade ur-punk, every riff and every bass note sounding like it'll give you tetanus if you scratch yourself on 'em, the drumming weirdly mixed with an echoing effect (perhaps simply due to the utterly and awesomely atrocious recording approach. Fleeting moments of lobotomized thrash break apart against shrill noisecore that goes so hard at 1,000 mile per hour velocity that it all turns into a delicious mush, only for another one of Gasket's wickedly catchy hooks to stumble out of the carnage. That side culminates with the unholy power electronics / improvised destruction of "Hole In The Head", a previously stand-alone track from Gasket that I begged them to include on this slab.

The Noumenal Field Recordings / Tierra Y Voluntad (Land And Will) cassette comes in kraft-brown j-cards befitting the look of the original digital uploads, issued in a limited edition of 100 copies.


Track Samples:
Sample : A Lost Tribe's Estate
Sample : retiree
Sample : Personality Syndrome
Sample : Hole In The Head


COME TO GRIEF  The Worst Of Times  CD   (Fuck Yoga)   14.99
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MOTHER  (2006)  DVD   (SRS Cinema (Sub Rosa))   14.99
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CULT OF YOUTH  With Open Arms  2 x LP   (Hospital Productions)   59.99
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POISON RUIN  Poison Ruin  CD   (Relapse)   11.99
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MASSACRE  Promise  CASSETTE   (Earache)   8.99
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Track Samples:
Sample : Suffering
Sample : Black Soil Nest
Sample : Where Dwells Sadness


CULTIC  Whip Seduction (SMALL)  SHIRT   (Crucial Blast)   20.00
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Released alongside the skull-stomping new Seducer (Expanded Edition) EP, the Whip Seduction shirt features a stunning, brand-new design by Cultic drummer and acclaimed illustrator Rebecca Magar. This design is exclusive to Crucial Blast, and features what could well be my favorite art from Rebecca / Wailing Wizard to date - for real, I'm possessed by an overwhelming impulse to get this tattooed on my person. Perfectly capturing the sleaze, filth, and carnal violence of Cultic's brand of atavistic, dungeon synth-soaked death metal, it's also one of the coolest designs that we've released over here at C-Blast. This is a highly quality three-color print courtesy of our collaborators at Forest Passage Printing, available on black 100% cotton Gildan garments. GET SEDUCED.

SHIPPING THE WEEK OF FEBRUARY 9TH, 2024.




INSANITY DEFENSE  Epitaph 1982 - 1985  CD + DVD   (Welfare Records)   14.99
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SCORN  Colossus  CASSETTE   (Earache)   9.98
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WORM OUROBOROS  Come The Thaw  CD   (Profound Lore)   13.98
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INCANTATION  Sect Of Vile Divinities (2023 REPRESS - WHITE SPLATTER EDITION)  LP   (Relapse)   21.00
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CAUCHEMAR  La Vierge Noire  CD   (Nuclear War Now! Productions)   10.98
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Track Samples:
Sample : CAUCHEMAR-La Vierge Noire
Sample : CAUCHEMAR-La Vierge Noire
Sample : CAUCHEMAR-La Vierge Noire


MIGHTY SPHINCTER  Undead at Hammersmith Odeon 1987  LP   (Slope Records)   19.99
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GASP  Sore For Days (Demo 96)  CD   (Dark Symphonies)   12.99
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GRAVESIDESERVICE  Resurrection Cemetery  CD   (Church of the Immaculate Deception)   7.98
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NUCLEAR DEATH  The Planet Cachexial  CD   (Cats Meow)   14.99
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CAVE IN  Until Your Heart Stops (REISSUE)  CASSETTE   (Relapse)   9.99
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Track Samples:
Sample : Halo Of Flies
Sample : Moral Eclipse
Sample : The End Of Our Rope Is A Noose


CELTIC FROST  Morbid Tales (Deluxe Reissue)  CD DIGIBOOK   (Noise)   14.99
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DESPISE YOU  West Side Horizons  CASSETTE   (Grind Today)   11.99
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A recent cassette edition of this classic collection of crazed ultra-violence, released on the Indonesian tape label Grind Today.

First released by Pessimiser back in 1999, West Side Horizons is a collection of everything recorded between 1994 and 1996 by the notorious Inglewood, California blastcore outfit Despise You, a band that featured members of 16, Crom, Excruciating Terror, Stapled Shut and Gasp, who never performed live during their original run and who surrounded their band in the imagery of LA Latino street gangs. There was a truly threatening vibe around Despise You's music, amplified a thousand times over by the band's simple but lethal combination of bizarro time signatures, an utterly blown out bass guitar sound, crushing downtuned death metal chug, hyperspeed hateful hardcore punk, and, in a move that appears to have been inspired by legendary LA punks X, dual male and female vocalists, with frontman Chris Elder trading off his ferocious, feral screams with Leticia Perez's bratty punk rock shout. At the time, that mix of vocal styles was unusual, especially with this sort of ultra-violent heaviness, and added a frantic energy to their music that just made everything sound like it was on the verge of collapsing in panic. With songs that would typically average around thirty seconds in length, Despise You's music offered a unique take on the extreme hardcore of the early 90s West Coast underground, veering from discordant, sludgy thrash to chaotic blastbeat violence splattered with weird, nauseating dissonant bass riffs, the blasting tempos suddenly degenerating into crushing angular sludge and massive doom-laden breakdowns, and blasts of stomping, hateful punk. These guys employed the same sort of brutal slow/fast dynamic as bands like Infest and Crossed Out, but Despise You had a feel of utter abject desperation to their music that was unique among their peers. And when they really let loose with the blast-tornado, this band was capable of unleashing a veritable wall of noise, a cyclone of inchoate downtuned speed violence that on some tracks can totally degenerate into almost pure noisecore insanity. Good luck finding anything more intense than this; one listen top Despise You's stuff and you can see where contemporary bands like Weekend Nachos and Magrudergrind are getting their inspiration from...

The first fifteen songs on West Side Horizons were all previously unreleased, and from what I can tell appear to have originally been recorded for a planned split LP with Man Is The Bastard that was later aborted. All of 'em are ultra-brutal blastcore eruptions that include a furious, breathless cover of Possessed's "Burning In Hell", which Despise You turn into a brutal hardcore assault. Listening to these unreleased tracks, you can really make out the weird bass parts and the band's penchant for angularity, something that definitely put these guys closer to the sort of barbaric off-kilter power violence that Man Is The Bastard were doing than the more straightforward hardcore-centric sound of other bands of the era. Despise You could bust out some seriously catchy hardcore blasts too, though, and pulled off jet-speed covers of crossover classics like DRI's "Couch Slouch" with aplomb. Aside from those raging unreleased tracks that open the disc, this collection also includes Despise You's PCP Scapegoat EP, the tracks off of their split 7"s with Stapled Shut, Suppression, and Crom, their nine tracks from the Left Back/Let Down double 7" compilation, and their track off of the Reality Part I compilation, and cap it all off with one last unreleased song from 1991 that sees the band slipping out of whiplash inducing blasting into crushing sludgery. Absolutely essential for anyone into the West Coast "power-violence" scene and bands like Man Is The Bastard, Crossed Out, Spazz and Capitalist Casualties.



SUBROSA  For This We Fought The Battle Of Ages (BLACK VINYL)  2 x LP   (Profound Lore)   36.98
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CARPENTER, JOHN  FireStarter (Original Soundtrack - YELLOW & BONE SPLATTER VINYL)  LP   (Sacred Bones)   23.00
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INTEGRITY  Those Who Fear Tomorrow (2022 Edition)  CASSETTE   (Relapse)   9.99
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DREADLORDS  Death Angel  LP   (Not Just Religious Music)   16.99
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     Back in stock.

More or less an alter ego of Philly black noise merchants T.O.M.B., Dreadlords emerged a couple of years ago with a uniquely blackened, fucked-up take on ancient blues and folk music, first appearing with a demo that was one of the strangest sounds I'd come across. As a longtime fan of T.O.M.B.'s ghastly black industrial noisescapes, I had certain preconceptions of what another project from those guys would sound like, but they were shattered against the murky, incantatory power of "Going To The Well", still one of my favorite songs from this project, a strange bit of blown-out gothic scum-blues hammered out on amplified banjo that sounded like some deranged cross between Danzig and the murky low-fi cigar-box weirdness of the Negromancy crowd.

     The 'Lords finally delivered their first full-length Death Angel, issued on King Dude's label Not Just Religious Music, and it featured almost all of the stuff from that 2013 demo along with a bunch of new songs, and they're all spectacularly fucked up blots of shambling, hallucinatory madness. It's equal parts ancient devilpunk a la some demented take on Bad Seeds-style gutter blues punk, outsider blues and rumbling black noise, a bizarre concoction served up in mostly short blasts of dank, dark blackness, the growled vocals drifting over the reverb-draped sound of distant electric guitar and primitive percussion, hand drums and tortured banjo, all sounding like you're hearing some whiskey-drunk deathcult whipping themselves into a sweaty fervor in some blighted roadhouse on the edge of a charred wasteland. There's also stuff like "I Live In A Cemetery" that sounds like primitive black metal being played by derelict hillbillies on busted guitars, broken amplifiers and someone banging on a ratty, hand-made drum; and the title track works a grittier, more soulful vocal delivery around ominous acoustic guitar, smears of far-off synth and the rattling of bones, almost like some wretched Nephilim-esque death-folk. The album has a hollow, distant feel to the instruments, like you're hearing them clanking and buzzing up from beneath the floorboards, a ramshackle atmosphere that evokes their visions of snake-handlers, Appalachian devil-cults and backwoods blasphemy.



VARIOUS ARTISTS  Dope Gun's And Fucking Up Your Video Deck: Vol. 1-3 1990-94  DVD   (Amphetamine Reptile)   14.99
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BLASPHEMY  Live Ritual: Friday The 13th (DIE HARD RED VINYL + POSTER + TAPESTRY)  LP   (Nuclear War Now! Productions)   38.00
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VOIVOD  Killing Technology (Reissue)  LP   (Noise)   23.00
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NEGATIVE STANDARDS  Fetters  CASSETTE   (Self Released)   8.99
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BOHREN & DER CLUB OF GORE  Sunset Mission  2 x LP   (PIAS Recordings)   28.98
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EXIT-13 Featuring BLISS BLOOD  Smoking Songs  LP   (Behind The Mountain)   19.99
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LOTUS THIEF  Gramarye  CD   (Prophecy Productions)   14.99
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USELESS PIECES OF SHIT  Ugly in Public  7" VINYL   (Slope Records)   7.98
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CYBER-PSYCHOS A.O.D.  Issue 1  MAGAZINE   (CyberPsychos AOD Publishing)   6.00
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SCATTERBRAIN  Mundus Intellectualis  CD   (MVD Audio)   12.98
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GREAT KAT, THE  Digital Beethoven On Cyberspeed (CD-ROM)  CD   (Bureau Of Electronic Publishing)   6.99
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Track Samples:
Sample : Paganini's Caprice #9
Sample : Cyberspeed
Sample : Goddess


DREAM UNENDING  Tide Turns Eternal  CD   (20 Buck Spin)   13.99
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BOBBY  Clear The Corner  7" FLEXI   (TPOS)   4.99
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SHINODA, MOTOKAZU  Demon City Shinjuku (OST)  2 x LP   (Tiger Lab)   34.99
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More spectacular sounds from the realm of classic anime black fantasy. I wasn't familiar with composer Motokazu Shinoda before this, but his electronic score to 1988's Demon City Shinjuku

An unrelated follow-up to Yoshiaki Kawajiri's seminal adult anime film Wicked City, Shinjuku is a similar exploration of what goes down when your city is infested with demons from another dimension. The story follows a teenage boy who inherits his father's struggle to fight an entire metropolis teeming with demonic beings, ultimately confronting the evil psychic who has managed to unlock an opening into Hell itself. Filled to the hilt with stylish animation, graphic violence, gritty realism, killer combat scenes, nasty body-horror elements, and loads of apocalyptic melodrama, this movie has maintained a cult following for over thirty-five years by being a simple, fun, splattery action experience loaded with imaginative, often nightmarish creature designs and a wild dystopian setting. It isn't as perverse nor as transgressive as Wicked City (or Kawajiri's other cult classic Ninja Scroll), but it's a blast. Definitely one of the iconic OVA's of the late 1980s.

And Shinoda's score matches the berserk intensity and hallucinatory violence with delectable synthesizer arrangements. It's so 80s it hurts, and man am I here for it. Searing synth and propulsive electronic drum sequencing injects an urban urgency and slick, neon-lit atmopshere to the weird proceedings, and as is usual with anime scores of the time, it's schizophrenically wild in its tonal shifts. Super-glossy 80s electro-pop / Japanese "city-pop" sounds give over to turbulent kosmische funk and analog synth arpeggios. Washes of celestial electronic pads swirl into passages of innocent, romantic piano schmaltz and rousing soundtrack pieces to youthful heroism . Weird cavernous noises and effects bathed in reverb meld with offbeat proggy keyboard arrangements. Pummeling drum-machine beats power intense action-oriented sequences. Traditional Japanese stringed instrumentation like koto, fervent ritualistic percussion, and ancient-sounding woodwinds mixes with progressive rock-style Hammond and Moog-style tones and percolating synth-bass lines that sound like they drifted over from the Ricochet, Moondawn or Phaedra sessions, which combines to expand on the story's more eldritch elements. Harsh orchestral stabs emerge over swells of gossamer electronic ether. Sinister squelchy drones sweep down and across clusters of spooky, dissonant notes and deep, rumbling symphonic bass. Seething, squirming arpeggiated notes surge out of the background like masses of wormy chaos. Dank, dark, dungeon-like ambience drifts out of yawning subterranean chasms. Blasts of gibbering, distorted electronics and bizarre yelping / squawking voices appear alongside outre blurpscapes that sound like psychedelic aural hallucinatotions. Spaced-out soundscapes evoke the dissolving veil between realities, often to a horrific effect.

It all contributes to a surreal blend of thorouhgly 80s-era synth music , dancefloor stompers, experimental electronic texturing, and apocalyptic atmopsherics. There are a couple of key themes that recur throughout the score in different forms ( "Theme Of Kyoya", "Theme Of Demon City", "Main Theme Of Demon City", "Theme Of Ashura/Ashura", etc. etc.) which make up Shinoda's most musical elements, but there's a lot of textural and modular weirdness that creates some exquisitely unnerving sequences throughout the score. Of course, you get some Tangerine Dream / Klaus Schulze-esque stuff threaded all throughout the thirty-eight tracks; it's the norm for horror-centric synth-based scores from that decade. Compared to the berserket video game / classical music-fueled madness of the Urotsukidoji scores, Shinoda's wortk here is both more accessible and more commercial, which is part of what makes Demon City Shinjuku an appealing gateway drug into the world of extreme Japanese horror animation.



CHAIN, PAUL  Ash  CD   (Minotauro)   15.99
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MISERY  Insidious  LP   (The Crypt)   22.00
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Track Samples:
Sample : Seeds Of Doubt
Sample : Dark Inspirations
Sample : Venganza Del


SUDDEN INFANT / GUILTY CONNECTOR  Sudden Infant Remixes Guilty Connector / Guilty Connector Remixes Sudden Infant  7" VINYL   (Genderless Kibbutz)   5.99
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A now hard -to-find 2003 EP that came out from the great Genderless Kibbutz label, whose owner sadly passed away suddenly earlier this past decade; his little label has produced a wealth of phenomental noise and experimental releases that included numerous luminaries from the extreme-sound underground. One of the most intense and skull-expanding of these releases is the Sudden Infant Remixes Guilty Connector / Guilty Connector Remixes Sudden Infant 7-inch, having the Swiss surrealist Sudden Infant go up against Kohei's awesome longrunning spazz-psych-noise beast Guilty Connector, the latter of which has maintained a somewhat symbiotic relationship with the mighty Bastard Noise; like I've mentioned in other reviews, any fan of one is likely to adore the other.

So here each artist goes at it in a slightly different direction, taking the "noise remix" concept and going berserk in their unique mode of abrasion. The first side has Sudden Infant's Joke Lanz (that diabolic grining jester also of Swiss avant-garde multi-media legends Schimpfluch-Gruppe) taking some kind of source material from Kohei's recordings and reshapes them into minute-long blasts of surrealist and disturbing noise cut-up, titles with goofy titles like "Tanks In My Pants", "A Rose Between Your Toes" and "Sing Along Kong" obscuring the troubling mayhem compacted into each piece. Armed with an assortment of electronics, GxCx samples, turntables, and noise-making toys, it's a rapid-fire surge of found sounds, harsh electronics spun into miniature loops, blurts of squelch and static and nauseating bass-thud, voices that have an almost carttonish quality clambering over brief but dread-inducing mindless drones, bizarre "singing" and emetic throat noises cast across a cacophony of sampled distortion and burnt-out circuitry. Like Lanz's other work, this has the appearance of total randomness and chaos until you hear it again, and again, and this gibberish begins to take on the hue of some kind of warped communication system. That might also just be me, of course. But this side is wild noise collage, no doubt about it.

Guilty Connector concetrate on a single sidelong track, however, merging electronics, field recordings and acoustic guitar to distort and warp the Sudden Infant material beyond recognition. It's titled "Roulette", likely hinting at the compositional strategy, and it's fucking brutal. Sudden Infant's source material can be clearly heard jutting out from the chaos here and there, but primarily Kohei goes for an incredibly violent rush of psychedelic electronic mayhem, strange environmental electro-acoustic sounds, grinding low-end distortion, and spooky passages of amorphous rattle n' creak. With noise artist Kelly Churko mastering this recording for maximum possible penetration, you get blown out with around five minutes of torturing squall and skree, bizarro turntable / tape noise-style gurgles, and those occasional moments where everything dissipates into the sound of hidden movements in an large empty space, creepy echoes and a sense of menacing emptiness peeking out from behind the tangled hyper-glitch and bone-grinding distorted frequencies. All in all, a superior piece of Guilty Connector's tripped-out electro-pandemonioum haunted by shaddows of Lanz's demented presence.



VIMANA  The Collapse  CD   (Willowtip)   10.99
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7 H.TARGET  Yantra Creating  CD   (Willowtip)   13.99
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Fuckin' ass-crushin' experimental Russian deathgrind nedriness from a band that I've been quietly obsessed with for nearly a decade. Their releases prior to 2023's Yantra Creating are a little tough to come by, being released on small, obscure Slavic labels for the most part. But now signed to Willowtip, these diabolical death-warpers are finally getting more of the visibility they deserve, and in this renaissance period of "weird death metal", 7 H. Target are king. They have the proper recipe : a balance between bizarre, otherworldly ambience and solid, crushing riff / groove structures, constant flights of imaginative musicianship and eldritch weirdness cast against a propensity for gargantuan tempo changes and riff-shifts that make me do the caveman-stomp all over my house. Yes, this seven-song album is a goddamn slam-salad, but behind every pulverizing breakdown and twisted riff, these guys bathe their music in a unique and anomalous atmosphere that you only get with the bizarrely named 7 H. Target (still working on figuring out what that band name references). But it's not riff mess like so many "tech" deathgrind outfits - the music here is very deliberate and diamond-sharp, impeccable songwriting that brings all of their strange elements together into a panoramic totality. Strange elements? Oh yeah. The band members themselves call this stuff “innovative psychotropic brutal death", and that pretty much nails it.

The music is ultra-violent, crazed, juiced on transcendent Tantric mysticism, Vedic cosmology and esoteric warfare, blending visions of apocalyptic events both past and future. Gossamer digital ambience surges into a cyclone of jagged riffing, discordant chords, complex time changes and rapid-fire shifts in tempo and intensity, the mad rush of opening song "Aghori" thrusting you headfirst into a massive meat grinder of off-the-wall deathgrind structures. But as mentioned before, 7 H. Target's dark magic is in part the way that these three guys (and collaborative cohorts) constantly tighten the rope and suddenly snap this blasting, squealing, seemingly disordered vortex into a demolishing breakdown groove or sludgy hook that all of a sudden makes what you are listening to jarringly catchy and contagious. There are interesting manipulations of Katalepsy front man Igor Filimontsev's vocals and the varied electronic elements, taking Igor's emetic, gut-busting roar and turning it inside out, creating strange fades and dropouts that along with the sleek ambient textures and electronic elements make all of this sound alien and inhuman. Nutso bass runs, bits of fusiony interstitial guitar stuff, some Spheres-era Pestilence touches, constant blasts of baffling shred, nuanced ambient layering, weird synth noises, there's a lot of stuff going on in each song alongside the signature pinging snare drum and wild polyrhythmic percussion, pig-squeal pinch harmonics and pukeoid gutturals. They've made a standout synthesis of over-the-top tech-death, offbeat and progressive-sounding spacey experimentation, and violence-provoking deathcore here.

The stuff that seems to divide some fans is the heavy presence of Indian folk and classical music elements, which are in keeping with their Vedic apocalypse concept. The third song "Shiva Yajur Mantra" in particular sticks out, fusing traditional Indian mridangam percussion, the hand-cymbal-like karatels and Maria Lutta's exotic Sanskrit singing around a background of choppy, off-kilter instrumental death metal. A kind of cybernetic bhajan devotional that transports the album to another plane entirely. Lutta appears later in the album on apex moment "Fire And Places For His Work", where the traditional Hindustani influences and folk-singing styles merge surprisingly well with the band's gruesome tech-slam overload. And closer "Meditation" lays out one final hyperblast assault before dissolving into a wash of dreamlike, gorgeous synth ambience that flows out into the ether. It all feels deeply alien.

Can't stop listening to this disc. The "flow" is fantastic. If there is a stand-out song on Yantra, it's right towards the end with that track "Fire And Places For His Work". Everything has built up to the crazed fusion explosion that goes supernova. This thing fires off synaptic connections I didn't know I had. For anyone hooked on the way-out experimentation and textural weirdness of bands like Wormed, Defeated Sanity, the warped alien-influenced prog-slam of Germany's Maximize Bestiality, those Czech mutants like !T.O.O.H.! and Lykathea Aflame, even certain elements of Discordance Axis, this album is an ideal portal to the gonzo techgrind weirdness that is 7 H. Target. Very recommended, guys.


Track Samples:
Sample : Fire And Places For His Work
Sample : Brahmastra
Sample : Shiva Yajur Mantra


DARKESTRAH  The Great Silk Road  CD   (Paragon)   13.98
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POISON RUIN  Poison Ruin  LP   (Relapse)   24.99
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NOISEAR  Subvert The Dominant Paradigm (TRANS COBALT BLUE)  LP   (Relapse)   15.99
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I've been doing a dive back into the Noisear discography, haven slept on this ferocious tech-grind outfit for the longest time. The first on my pile is this 2011 album from the Albuquerque avant-blasters, their debut release for Relapse. Despite the amazing pedigree (these guys have cumulatively played in cult underground Southwest squads Laughing Dog, Kill the Client, P.L.F., Cognizant, as well as major grindcore heavy-hitters Gridlink and Phobia), it seems like they have remained something of an obscurity in the global grind scene.

This insanely tight, precision-grade blurr-metal spits out a cavalcade of methamphetime math-metal riffs, berserk discordant chord shapes, nausea-inducing tempo changes and so many time-signature shifts that my legs are buckling, each instrument performing at an insane level of speed and technical exactitude. But like Discordance Axis, a band that Noisear has often been cmpared to, these guys also know how to deliver on the riffs, creating a mouthwatering mass of undeniable brutalizing grooves and bizarre, progged-out soundcraft. There are massive chugging, off-kilter grooves that crush you beneath their treads on tracks like "Fraudulent", "Inevitable Extinction", "Gestapolis" and more, massive downshifts into cudgel-heavy riffs that suddenly break out of the pell-mell fingertapped solos and impossibly intricate needlesharp shred and hyper-angular chord progressions / rhythm changes. There is so much wonky guitarwork and baroque riffing on here, Dorian Rainwater's axe-work keeps blowing my mind. Just nonstop labyrinthine fret-damage backed by the insane energy level of the rhythm section, which stands out on its own with Bryan Fajardo's speedfreak clockwork drumming and Joe Tapia's mix of skull-blasting bottom-end and these almost fusion-influenced bass runs splattered all over the joint. There are parts where the music breaks off into a kind of psychedelic sludginess ("Life Consumed You"), and swiftly dive into monstrous crustcore ("Poisonous Cure"), the Dillenger Escape Plan-meets-Human Remains math-metal instrumental "The Perpetual Downfall Of Man",

as chaotic as it gets, every single piece of this sounds carefully calculated and crafted, which makes the album that much more mind-boggling

But Noisear maintain a feral, slavering ferocity and aggression throughout the album that definitely harkens back to the members' time in Phobia and Laughing Dog - as experimental and mathy and riff-geeked as this gets, it also sounds like the band members (especiall the singer0 are barely human; there is this awesome, gnarly guttural griminess and ugliness to everything on Paradigm that delivers the best of all worlds. I can't figure out why this band isn'y huge among fans of the far-flung fringes of fucked-up grindcore; the stylistic connections to Gridlink, Mortalized, Human Remains, the later more avant-garde Brutal Truth material, and the aforementioned Discordance Axis is unmistakeable - this is about as nerdy and technical as grind gets, in the best way possible. If any of these other bands I'm mentioning do anything for you, I can't recommend this album (and everything else that Noisear has done) enough.

Obnly caveat for me is that the vinyl edition does not include the twenty-minute harsh noise piece that closed the CD edition - if the reviews are anything to go by, that's a plus for some grind fans, but i personally (and no doubt unsurprisingly) really dug that epic blast of Merzbowian electronic chaos. So if you're listening to the vinyl, you're just getting the stripped-down-to-the-grind version of Subvert The Dominant Paradigm .


Track Samples:
Sample : Waiting To Be Born
Sample : Stress Pandemic
Sample : The Blackened Sea


CULTIC  Whip Seduction (MEDIUM)  SHIRT   (Crucial Blast)   20.00
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Released alongside the skull-stomping new Seducer (Expanded Edition) EP, the Whip Seduction shirt features a stunning, brand-new design by Cultic drummer and acclaimed illustrator Rebecca Magar. This design is exclusive to Crucial Blast, and features what could well be my favorite art from Rebecca / Wailing Wizard to date - for real, I'm possessed by an overwhelming impulse to get this tattooed on my person. Perfectly capturing the sleaze, filth, and carnal violence of Cultic's brand of atavistic, dungeon synth-soaked death metal, it's also one of the coolest designs that we've released over here at C-Blast. This is a highly quality three-color print courtesy of our collaborators at Forest Passage Printing, available on black 100% cotton Gildan garments. GET SEDUCED.

SHIPPING THE WEEK OF FEBRUARY 9TH, 2024.




SCAM, THE  Sic World  CD   (Welfare Records)   14.99
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MARE  self-titled (2016 Repress)  12"   (Hydra Head)   18.98
self-titled (2016 Repress) IS CURRENTLY UNAVAILABLE FOR ORDER

Still sought after by many fans of contempo avant-metal, Mare's sole release from around a decade ago is once again back in stock here at C-Bast; here's the old review of this record from when we originally listed it years ago:

This is the latest vinyl edition of Mare's masterpiece, released in 2016 in a letterpress sleeve by Hydra Head and pressed on a mix of black, blue, and clear vinyl in a limited edition of eight hundred copies - we can't guarantee which color you'll get, but feel free to request it if you're looking for a particular color from this run, and I'll see what I can do). And yeah, still as essential now as it was then.

Mare wasn't around for long. They came out of nowhere in 2004 with this four-song, 25 minute mini-album that was one of my favorite releases for the year, and then broke up about two years later without putting out anything else. I was heartbroken when they announced that Mare was kaput, as I had been desperately waiting for a full length from the band, having worn out my copy of the EP on disc. But these four songs are still breathtaking whenever I throw them on, a spellbinding sort of ethereal avant-metal, with sudden angular riffs as crushing as anything from Isis or Neurosis, but which appear alongside these immensely beautiful passages of somber post-rock beauty closer to Sigur Ros than anything else, blips of darkly luminescent jazz, bursts of devastating, floor-caving doom/sludge riffs, gorgeous 20th century choral music, crushing mutant metalcore. But what really make these songs so magical to me is the voice of Tyler Semrick-Palmateer, who had previously been the frontman for Relapse tech-metallers The End. You've got to hear his vocal harmonies on this, they're stunningly beautiful harmonies that have been likened to the sort of lush vocals that the Beach Boys perfected, if you can imagine it. When those heavenly multi-part vocal harmonies glide seamlessly into a monstrous slo-mo doom riff that opens up like a sinkhole, the effect is riveting.



WORM OUROBOROS  What Graceless Dawn  CD   (Profound Lore)   13.98
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BASTARD NOISE  Doomed Expedition  2 x LP   (Skull Records)   25.99
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INCANTATION  Tricennial Of Blasphemy  2 x CD   (Relapse)   14.99
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CAUCHEMAR  La Vierge Noire  LP   (Nuclear War Now! Productions)   14.98
La Vierge Noire IS CURRENTLY UNAVAILABLE FOR ORDER









Track Samples:
Sample : CAUCHEMAR-La Vierge Noire
Sample : CAUCHEMAR-La Vierge Noire
Sample : CAUCHEMAR-La Vierge Noire


SLOGUN  Will To Kill  CD   (Bloodlust!)   12.99
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Part of the exhaustive History Of Violence reissue series from Bloodlust!, this re-mastered redux of Slogun's evil power electronics masterwork Will To Kill is one of my favorite albums from John Balistreri's "true crime electronics" outfit, one of the key architects of crushing American power electronics.

Originally released on cassette by Bloodlust! and Balistreri's own Circle Of Shit imprint back in 1996, Will To Kill is a titanic belch of hellish gas and acid from the bowels of Hell. Slogun has always been one of the heaviest American electronics artists, not just because of his relentlessly misanthropic outlook but also because the guy creates some of the most violent, bass-heavy electronic soundscapes around. When the first track "Kraft" kicks in, it just rolls over you like a bulldozer with it's crushing whoosh of radioactive winds and distorted synth drones. The klaxon warning chirps that come in later just make this sound even more like the final minutes before the thermonuclear wave hits. The other tracks on Will To Kill tend to maintain a similar level of brute destructive power, though there's plenty of atmospheric passages too, like the rumbling deep-space drones and smoldering noise on "Blood", which resembles something from Japanese cosmos-destroyers CCCC more than a typical PE outburst. On the other hand, "Street Cleaner" viciously blasts off into a killswarm of mangled radio transmissions, murderous distorted whispers ("....listen to me...listen to me...), dense distorted black winds buffet the speakers, a repulsively brain-melting blast of black electronics. Following electro-attacks like "Mindhunter" and "Trolling" are no less carnivorous, reveling in the bliss of predatory behaviors as a rain of acid feedback and wall-like distortion falls to earth. It's all a black seething mass of psychedelic electronic violence and total terror that climaxes with the serial killing mantra "Trash", an ode to Gary Ridgway aka the "Green River Killer".

Essential for anyone into Slogun's brutal electronics and the murderous extremes of underground industrial/noise.


Track Samples:
Sample : SLOGUN-Will To Kill
Sample : SLOGUN-Will To Kill
Sample : SLOGUN-Will To Kill


CHRISTIAN DEATH  Ashes  CASSETTE   (Season Of Mist)   9.99
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     Both Christian Death's Ashes and Catastrophe Ballet were recently released on limited-edition cassette tape, both already sold out from the source.

     While Christian Death did put out some highly listenable material after the departure of founding member Rozz Williams (at least early on), there's really only three Christian Death albums that you really, really need in your collection: the pioneering and provocative 1982 debut Only Theatre Of Pain, and the two albums with both Williams and Valor Kand that followed, Catastrophe Ballet and Ashes. All of these are key works in the death rock canon, and their combined influence has reached well into the realms of extreme metal, industrial music and beyond; any headbanger who turns their nose up at Christian Death's early works simply based on the band's campy look should consider sitting down and listening to these albums side by side with Celtic Frost's 80s output to see just how far the band's black tendrils extended. There's been a recent resurgence of interest in the early Christian Death material, though, what with this whole death rock revival thing that's been going on for the past few years, and it looks like a whole new generation of listeners has been turning on to the weird, morbid genius of Rozz Williams. Not a moment too soon, I say. We've had the reissue of Only Theatre Of Pain available here for awhile, but up till now never stocked the following two albums, both of which were reissued by Season Of Mist in 2009; featuring booklet materials from the original first edition LP releases on L'Invitation Au Suicide and newly re-mastered, both come with the highest recommendation for anyone obsessed with true death rock and the most macabre fringes of post-punk.

     Originally released in 1985 on French label L'Invitation Au Suicide, Ashes was the final album from the Rozz Williams-fronted lineup of Christian Death, and an end to an era. While I won't completely write off the post-Williams output from Christian Death (the subsequent 1986 album Atrocities is pretty goddamn good), this was the last chapter in what had been a genre-defining run of albums, now iconic entries in the American death rock canon. On their third album, Christian Death were getting even more progressive, evolving into something totally unique within the realm of American post-punk. Williams' vocals are more measured, less overwrought than before, and there's a heavier feel to this material; maybe more so here than with any of the other Christian Death records, you can really pick out the elements of their sound that so enamored Tom Warrior - one listen to the driving, almost metal-tinged power that emanates off of the opening title track, and you can hear echoes of what would later emerge on Celtic Frost's Into The Pandemonium, the end of the song showcasing a ferocity rarely heard in this era of the band. From there, the eerie instrumental "Ashes Part 2" leads into more of Rozz's penchant for experimental soundscapery, and all throughout the album he laces the tracks with peripheral traces of Gregorian chant and ghostly mechanical sounds, squealing violins and nightmarish sound collage, even dreamlike forays into Weimar cabaret on "Lament (Over The Shadows)". The actual songs are some of their best, too. "When I Was Bed" is classic death rock, catchy and propulsive and draped in elegant shadow, and "Face" is the band at their churning best, fusing a smoldering psychedelic quality to the rolling tribal drums and handclaps and cob-webbed post-punk guitars, another all time favorite. Other highlights on the album include the slow brooding atmosphere that wraps around "The Luxury Of Tears", the metallic mausoleum creep of "Before The Rain" that transforms into something surprisingly triumphant, and the bad-dream dread of closer "Of The Wound", the sound of a screaming infant laid over a nightmarish string section and discordant piano, taking the album out into a final sprawl of surrealistic weirdness. A genuine classic of morbid post-punk.


Track Samples:
Sample : CHRISTIAN DEATH-Ashes
Sample : CHRISTIAN DEATH-Ashes
Sample : CHRISTIAN DEATH-Ashes
Sample : CHRISTIAN DEATH-Ashes


RAMLEH  8 Ball Corner Pocket  7" VINYL   (Sympathy For The Record Industry)   10.99
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Another rare warehouse find from the depths of the SFTRI vaults, one of two EPs that the esteemed punk/garage label released in the early 90s from these previous power electronics pioneers-cum-psychedelic skullstompers

Don't ask me what is going on with that front cover. It's an atrocity of some kind, I;'m sure, and I wouldn't want to be in those penguins' shoes. It always leaves many more questions than answers, even thirty years later.

OK, down to the tunes: two tracks, the A-side "8 Ball Corner Pocket" comes in hot like German firebombers, furious tribal-like drumming at full power pummeling you while droning acoustic guitar, distant yelling, and excoriating blasts of distorted guitar noise surge and recede, dropping an offbeat, fairly pissed-sounding shockslab of violent neo-psychedelia / acid-damaged noise rock; it's right in step with the sort of freeform quasi-sludge rock drugginess that Ram;eh was neck-deep in during the first half of the 90s. It's a banger, and grows more fucked and overmodulated and electronically warped as it lumbers into brain-scraping oblivion, neverending, fading into the eternal. The other one is "Trapped Aircraft", a jangly, maudlin lo-fi outsider pop trip at first before erupting in their inimitable style into deafening blasts of roof-shaking percussive chaos and quasi-blastbeat mayhem, blurts of naieve melody cwirling beneath a musical carcass of wah-pedal overdrive, filthy powerchords, and effects lifting the whol maggot-boiling body into the heavens. A perfect example of how these guys could toe that line between striking improvisational beauty and total world-eating armageddon; imagine Beat Happening being beaten mercilessly by a roving band of Hanatarash members. Sound good? It does to me.


Track Samples:
Sample : Trapped Aircraft
Sample : Ramleh: 8 Ball Corner Pocket


ANNTHENNATH  States Of Liberating Departure  CASSETTE   (Wohrt Records)   6.99
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Track Samples:
Sample : Survival Activation
Sample : Somatic Hedonism
Sample : Atomic Demise


DEATHSPELL OMEGA  The Synarchy Of Molten Bones  CD   (Norma.Evangelium.Diaboli)   15.98
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GRAVESIDESERVICE  Fog  CD   (Church of the Immaculate Deception)   5.99
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NUCLEAR DEATH  Harmony Drinks of Me  CD   (Cats Meow)   14.99
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CAVE IN  Until Your Heart Stops (REISSUE - BLOOD RED/SEA BLUE VINYL)  2 x LP   (Relapse)   28.99
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Track Samples:
Sample : Halo Of Flies
Sample : Moral Eclipse
Sample : The End Of Our Rope Is A Noose


CELTIC FROST  Morbid Tales (Deluxe Reissue)  2 x LP   (Noise)   39.99
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SUBROSA  No Help For The Mighty Ones  CD   (Profound Lore)   13.98
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Track Samples:
Sample : SUBROSA-No Help For The Mighty Ones
Sample : SUBROSA-No Help For The Mighty Ones


KULTURA KURENIJA (SMOKING CULTURE)  Necrophilia  CD   (Maa Productions)   14.98
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AUROCH  From Forgotten Worlds  LP   (20 Buck Spin)   23.98
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SIGH  Scorn Defeat  2 x LP   (The Crypt)   28.99
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A super-limited new vinyl reissue of Sigh's debut album Scorn Defeat released by the revivalists over at The Crypt. This new 2017 edition features the original release on the first LP and a second LP of bonus material that apparently appears here for the first time, including the three early mix tracks ("The Knell", "At My Funeral", and "Taste Defeat"), and a live soundboard recording taken from an August 1991 at Harajuku Los Angeles Club, Tokyo. The records come in a heavyweight gatefold jacket that copies the original Deathlike Silence cover and layout. Here's our original review for the album:

There's few black metal bands as quirky and strange as Japan's Sigh, who have been delivering their whacked-out brand of cinematic prog-influenced blackthrash since the early 1990's. The band burst into the black metal underground when their debut album Scorn Defeat was released in 1993 on Deathlike Silence, the label run by Euronymous from Mayhem, and Sigh's debut would become legendary for being the last release on the label before Euronymous was murdered. But even if Scorn Defeat hadn't been caught in the shadow of the events chronicled in Lords Of Chaos, this album would still have become one of the great cult classics of the second wave of black metal just for it's sheer weirdness. From Imaginary Sonicscape (the band's brilliant 2001 masterpiece) onward, Sigh has become one of the world's most psychedelic metal bands, blending together Wagnerian bombast and 70's psychedelia and jazz fusion and Venom and John Zorn into a unique and mind-boggling sound of their own, but it might surprise a lot of fans that haven't heard Sigh's earliest material just how oddball the band was even in the beginning. Compared to their later albums, Scorn Defeat is obviously a black metal album, with lots of killer fast paced buzzsaw riffing and blastbeats and slower dirgier parts, and the song titles and lyrics all pointed towards the kind of death worship that no doubt had the Norwegian black metal kids bugging out. But then there's the weird band photos, with the not-quite-right corpse paint makeup that's way more kabuki than necro, and the band doing battle with fuckin' maces while Mirai breathes fire in the background...and then there's the music itself, a ripping black metal attack that's heavily influenced by the primitive sound of classic Venom, but which is injected with weird prog-rock interludes, classical piano (that's shockingly competent compared to what most bands were doing with keyboards back then), subtle psychedelic overtones and other elements that made it abundantly clear that Sigh were not just another black metal band...

The first song "A Victory Of Dakini" is as heavy and blackened as anything off their most recent, and already pointed towards the wild, avant-garde direction that Sigh would continue in; the songs kicks off with a halting doomy dirge and some acoustic guitar over top, then lurches into a plodding black metal riff with that unique majestic quality that all of Sigh's riffs have, super catchy but dark and evil, and it winds through slower sections of gloomy acoustic strum and grim mid-paced dirge with Mirai's distinctive raspy vocals. But then towards the end of the song, the band breaks off into a weird punky riff that suddenly erupts into an insane Hendrix-style acid-guitar freak-out complete with jazzy bass, which goes on for a minute or so, stops abruptly, and then goes right back in to the gloomy black dirge, only this time the band backs the music with beautiful Pink Floyd-like vocal harmonies and Hammond-like keyboards. It's the sort of jarring and bizarre shift in tone that won't surprise anyone who's heard their classic Imaginary Sonicscape album, but I bet that this confused quite a few black metallers back in 1993.

"The Knell" is more straightforward black metal, thrashing buzz-saw guitars and scorched vocals, epic melodies clashing with squealing Slayerized solos, but as the song progresses, it starts to reveal another proggy arrangement, this time moving into passages of heavy keyboard and acoustic guitar that alternate with the heavier parts, and culminating in a blazing psychedelic climax with ripping harpsichord solos (!) and angelic vocal choirs. "At My Funeral" gets even stranger, mixing up that Venom-esque mid-paced plod with more tinkling piano lines, soaring choral synths, and a killer theatrical part that kicks in during the middle.

On "Gundali", the guitars are excised completely for another theatrical sounding piece that combines church organs / harpsichord keys, Mirai speaking in a low, creepy whisper, tambourines and a simple repetitive drumbeat into a cinematic dirge that later turns into a purely instrumental performance of classical piano. The black metal returns on the next song, though, and it's one of my favorites - "Ready For The Final War" is another proggy blackthrash anthem, with some of the most crushing riffage on the album, going from synth-driven drama to raging high-speed thrash to one of those immensely rocking and catchy Venom-chugs that, again, turns into a pure piano piece at the end, one that's so beautiful and jazzy it's as much of a shock as any of the other moments of weirdness that have previously appeared on the album. The rest of Scorn Defeat is loaded with these amazing what-the-fuck moments, like the jazz piano that pops up in the middle of the black metal anthem "Weakness Within", or the Floydian atmospherics and chiming triangles (how often do you hear those on a black metal album?) on "Taste Defeat".


Track Samples:
Sample : SIGH-Scorn Defeat
Sample : SIGH-Scorn Defeat
Sample : SIGH-Scorn Defeat


BAND, RICHARD  Ghoulies (Original Soundtrack)  CD   (We Release Whatever The Fuck We Want)   17.99
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Track Samples:
Sample : Bring Forth The Ghoulies
Sample : First Incantation
Sample : Main Titles


VARIOUS ARTISTS  Ancient Meat Revived  LP   (Nuclear War Now! Productions)   19.98
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VOIVOD  Rrroooaaarrr (Deluxe Reissue)  2 x CD + DVD   (Noise)   19.98
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NEGATIVE STANDARDS  Fetters  LP   (Vendetta)   14.99
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BOHREN & DER CLUB OF GORE  Bohren For Beginners  2 x CD   (PIAS Recordings)   16.98
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FIRE  Issue 1  MAGAZINE   (Fire)   14.98
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LOTUS THIEF  Gramarye  2 x LP   (Prophecy Productions)   32.98
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VVLTVRE  My Will Is To Self-Destruct  CDR   (Annihilvs)   9.98
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CYBER-PSYCHOS A.O.D.  Issue 2  MAGAZINE   (CyberPsychos AOD Publishing)   6.00
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SCOLOPENDRA  Those Of The Catacombs  LP   (Nuclear War Now! Productions)   19.98
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Track Samples:
Sample : Exhumed Corpse Exaltation
Sample : Sacrarium Profanation
Sample : Tormenting Dying Nuns


GREAT KAT, THE  Bloody Vivaldi  CD   (TPR Music)   6.99
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EXECUTIONERS MASK  Winterlong  2 x CD   (Profound Lore)   13.99
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MANSON FAMILY, THE  The Manson Family Sings The Songs Of Charles Manson  CASSETTE   (TPOS)   6.99
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Track Samples:
Sample : I'll Never Say Never To Always
Sample : Goin' To The Church House
Sample : The Fires Are Burning


SHITNOISE BASTARDS  Lo-fi Does Not Mean Sucks, It A Threat!!!  7" VINYL   (SPHC)   6.50
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Ah, gaaaaahhhh...I love that goddamn title, Lo-fi Does Not Mean Sucks, It A Threat!!!, paired up with the amazingly hideous sleeve art of sppiked-up skeletal punks throttling a cop and then vomiting all over piles of bones. This has to be insanity, right?

"Only booze and noise" is their mantra

a million splits with the likes of _____ in their awesomely cruddy wake , including platters with Sete Star Sept (with whom they share a certain metal-inged blastpunk sound),

Fourteen songs on the front, elecven on the back, just total and complete quasi-noisecore chaos across the board. They've got that absurd 1-2-3-4 count-off and peals of feedback between songs that is total noisecore delivery, but there's definitely some actual riffs and song structures in here. Mind you, they are absolutely berserk, and their moments of hyperspeed metallic crust blast are fleeting visions of endtime barbarity in between the meltdowns of musicality, these rippin' riffs almost always devolving right before your ears into atonal , aleatory carnage.I love this stuff, it harnesses some of the sound and vibe of the late 80s UK extreme hardcore aesthetic, Intense Degree and the like, a couple eruptions of D-beeat power going completely off of the rails, scorched screeching animalistic vocals constantly going ballistic, but smooshed amongst these clattery crazed freeform fallouts, with a bunch of savaging guitar solos shredding through everything, and a few rare moments of more restrained improv wierdness. Noisegrind, noisecore, "raw grind", whatever - these guys are heinous. Completely out of control. Highly recommended for those that despise melody and



CHAIN, PAUL  Ash  LP   (BloodRock Records)   24.99
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MITOCHONDRION / AUROCH  In Cronian Hour  7" VINYL   (Dark Descent)   9.99
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It's like a reunion of old pals, as these two Canadian deathwarp outfits share several members between 'em. And the chaotic, brutally oblique death metal that each band spews out into the hyperverse feels like it's tethered to a familiar mass of radioactive plasma; this shit is fuckin' weird, so it should come as no surprise that each band is among my personal faves in the contemporary pantheon of bizarro tech-death.

the two bands in tandem brings you twelve minutes total of corrosive, high-velocity havoc.

Auroch's openingg side sloshes with the spetic, sulfuric magnificence of "Leaden Words Sown", early in the song doing a delicate teetering between Immolation-on-meth spiked heaviosity and these peaking moments of stunning alien majesty; the latter half of "Sown" shifts downward into a series of abdominal-stomping sludgy atonalty, blasting multi-skreiking chaos, and a steadily building feeling of all-out cacophony until it blows apart into this awesome stretch of industrial-tinged dark ambience, looping chantlike voices and pulsating machinelike rhythms winding beneath a mist-blanket of chemical vapors, experimental guitar / effects noise, and melted elecrtronic textures. Man, I fucking love this band.

On the other, Mitochondrion "Gilded Words Reaped" spins you off into an even more confusional galactic rot-blast, not suprising considering just ghow insanely unique and warped their album Parasignosis was (as far as the C-Blast compound is concerned, that disc is still one of the most brain-eating blasts of avant-garde death metal of the past decade): brilliant use of emotive, crafted melodic forms is employed against a backdrop of nutzoid mega-multi-layered Gorgutsian atonality and vision, and an exotic, insidious structural style that somehow makes this song "Reaped" balanced on the pinpoint between super-catchy melodic death metal epicnesssss and all-out skull-folding chordal chaos. Abyssal is one of the only other bands I can think of that are able to bridge these sonic regions, but Mitochondrion are even more confounding and convoluted. An amazing song.

The record is beautifully packaged in a gatefold jacket with spot-varnish printing.


Track Samples:
Sample : AUROCH - Leaden Words Sown
Sample : MITOCHONDRION  Gilded Words Reaped


SUGIMOTO, TAKU  Mienai Tenshi  LP   (Weird Forest)   18.99
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his subsequrnt experiments in avant-garde guitar mutation that led to a world of strange percussive , lyrical soundscapes , often imbued with a quiet, faded beauty on classic albums like Myshkin Musicu and the almost mystical minimalism of his collab with Cristian Alvear, ‘h’.

But that's not what you get here. Nope.

As it turned out, Sugimoto's actual debut album was this, Mienai Tenshi, an incendiary blast of extreme guitar noise performed solo, recorded live at the Tokyo venue Yaneura in latee February of 1988, then issued in a tiny private, self-released pressing of one hundred copies. Now available on a slightly larger scale via Weird Forest, this new presentation of Tenshi better captures the atmosphere of the sounds cut into this processed petroleum; although the label has lovingly included reproductions of the original insert sheet, the record is now housed in a pitch-black sleeve with embossed lettering, matching the color of your charred bones once you're done exposing yourself to Sugimoto's total obliteration. In the annals of experimental extreme noise-guitar improvisation, this motherfucker is at the top of the heap for sheer violent power. It's obvious that Sugimoto was coming from a psychedelic rock position, but man, this stuff goes beyond. It's all basically one eponymous piece, taking his amplified, incredibly distorted electric guitar and transforming it into a goddamn flamethrower, an assault of piercing high-end feedback skree, freeform riffing, atonal shredding and harmonic squeals, kicking off a complete cacophony that fans out from the speakers.

But as you move through this sonic warzone, which is cathartic enough on its own if you're a fan of extreme axe torture and free-improvisation, Sugimoto pulls back the squall for short periods where a quasi-bluesy vamp will show up, or an epiphanic chug-a-thon coms out of nowhere grinding the air beneath its force, these motes and chunks of form and structure that spill out of his relentless assault on the instrument. I think it's awesome. Dizzying. A standout in the late 80's Japanese improv underground, summoning up gales of destructive force and atonal abomination, only to be largely abandoned by Sugimoto within a very short time.

The label draws reference points to the TOYKO HYPER-SPEEDFREAK PSYCHBLAST underground, which is cetainly reasonable, but they also cite the pioneering Japanese jazz / improv guitarist Masayuki Takayanagi as another pole of possible influence. An interesting notion, as Sugimoto's attack shares some of the similiar pointilist note clusters and intemsely expressive string warping ________________

But this album also ranks up there with the most ear-beating industrial-strength skronk of Matt Bower and Skullflower, Ramleh's guitars at their most unhinged, even the more recent string-battery that Marcia Bassett has done with her Zaïmph project.

Hell, therre are a couple of moments on this platter that could easily pass for an extended Greg Ginn solo.



LORD KAOS  Thorns Of Impurity  CASSETTE   (Nuclear War Now! Productions)   11.99
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ALLIN, GG  Freaks, Faggots, Drunks & Junkies  CD   (Aware-One Records)   14.99
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Now also available in a limited-edition 2022 "shit mix” colored vinyl edition for all of you distinguished aesthetes out there.

In 2016 year of our lord, it's almost unfathomable that this rare beast could have once stalked the face of the earth. But when I need a real social palette cleanser, I turn to the late 80s GG Allin stuff. And this motherfucker is top of the pile, one of the filth-king's rattiest and nastiest albums. The fifth album from Allin and originally released on Gerard Cosloy's Homestead Records, Freaks captures the beast during my favorite period of his career: with this particular expression of his monstrous Id, Allin enlisted the talents of Bulge, who otherwise belched out a couple of rippin' thrashcore releases on Ax/ction and Fudgeworthy in the early 90s, and who featured members of Gonkulator, Jesus Chrust, and Psycho. Bulge's drummer Charlie Infection had already previously worked with Allin by including the song "I Wanna Suck Your Cunt" on the Welcome To Ax/ction Island compilation. Bulge was a relatively tighter, more "stable" band compared to Allin's previous backing group, so the team-up made sense.

That said, this album is a warzone: a pitch-shifted GG lays down the law with the spoken word intro "My Revenge", then throws us headfirst into a nineteen-song orgy of drug-damaged blues riffs and monstrously fucked-up hardcore punk. His vocals sound totally scorched here, like the man has been swilling gasoline in between vocal takes. "Be My Fuckin Whore"' offers a litany of degradation and misogynistic abuse set to primitive hardcore, with some almost Greg Ginn-level guitar warp going on when it rips into a solo, followed by the thirty-second noisecore-esque blast-chaos of "Suck My Ass It Smells". "Dog Shit" delivers what is possibly my favorite line from the guy, "...Get the fuck outta my bread line...", and that general mean-spirited, ragged hardcore attack makes up the bulk of Freaks.

Other scorchers include sickoid mid-tempo rippers like "Anti Social Masterbator" (sic)and "Last In Line For The Gang Bang" that collectively climb right into your head and won't leave. You've got a nod to David Allan Coe via "Outlaw Scumfuc". And with the messed-up and overtly brain-damaged moments like the lumbering, tuneless skull-beating on "Wild Riding" and "Crash & Burn" , Allin and crew puke up a kind of Flipper / Kilslug / Black Flag-style scum-dirge that's swarming with gruesome guitar skronk, grating atonal synthesizer, go-nowhere sludgepunk riffing, and some of the more unsettling and orgasmic vocals we've heard from Allin. Goddamn awesome stuff. The closer "My Bloody Mutilation" is a drawn-out, industrial nightmare, a fog of clanking, metallic atonality and tortured invective screams, raving madness set to a oily black shimmer of deformed ambience, almost Abruptum-like in it's sheer abject hideousness. But if I had to give you just one reason to pick up this atrocity, it's the song "Die When You Die" (actually itself a sort-of cover of Destroy All Monsters's proto-punk classic "You're Gonna Die" ), a perfectly formed piece of anti-social, anti-human punk rock that has gone on to be covered by countless punk and black metal bands in the decades since. It's one of the greatest Allin songs of all time.

Bottom line is this- fans of fucked-up and demented 80s' hardcore who haven't heard this stuff are missing out. This is hanging out on the most terrible fringes of hardcore. The height of anti-social art-psychosis and chaos-invocation in the latter half of the 1980s. The Freaks album could sit nicely alongside other albums that I would term "outsider hardcore", in spite of some probable pushback from members of the punk scene. But GG and the Bulge beasts were not interested in working within the parameters of the then-current hardcore scene. This is so much more transgressive, more bizarre, more genuinely deranged and incontrovertibly misanthropic, more dissident and self-destroying in every possible way. Allin himself considered this album to be one of the best of his career. A sodomatic , Dionysian immolation rite, pursuing ultimate physical transcendence in a manner not unlike the Aghori sect. And man, nobody ever came close to hustling the way that GG did. It's a sight and sound to behold. Everyone else was performing theater. This was the real deal.



DEAD MEADOW  Force Form Free  CD   (Blues Funeral)   11.99
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Track Samples:
Sample : The Lure of the Next Peak
Sample : To Let the Time Go By
Sample : Force Form Free


POISON RUIN  Poison Ruin  CASSETTE   (Relapse)   9.99
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NOISEAR  Turbulent Resurgence  LP   (Deep Six)   14.99
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This vinyl version (courtesy of Deep Six) leaves off the psychedelic harsh noise outro, alas, but everything else is here. Nineteen songs, sixteen minutes. All go, baby. From opener "Pressure Blast " to closer "Fiery Rebirth", Noisear crank out a stream of methamphetimine avant-grind that leaves me needing a new spinal fusion. It continues to boggle my mind how complex a forty-five second song can be, but these guys cram in a ridiculous amount of angularity, intricate math-damaged riff structures, and dissonant weirdness into each of these brief blurts of hyperviolence. The production on Resurgence is more raw and unpolished compared to their follow-up, and that roughness and grit adds urgency to the already out-of-control blast attack. With songs averaging about fifty seconds, each erupts in a crazed, confusional tangle of discordant riffs, spastic drumming, bizarre and menacing melodies taking form in the chaos. It's pretty wild how complex this stuff gets in songs like "Justifiable Homicide / Legal Gangsters", "Grains Of Sand", and "Blood Bag For The Leeches", unraveling knots of serrated guitar parts, hectic percussive patterns, and disgusting guttural grunts heaving up chunks of minimalist negatory lyricism, haiku-esque explosions from the Id that evoke an endless nihilism and apocalyptic outlook; this stuff is seriously pissed. Blots of bleak, grinding noise churn for a moment amidst the tornado of tech-grind blasts, but the songs also blend in some killer hardcore punk elements with the occasional D-beat or stripped-down crust assault; this stuff definitely has more of a "punk" edge to it compared to the more complex, multibranched hysteria that defines Subvert The Dominant Paradigm and Pyroclastic Annhiallation. I get the feeling that Noisear were letting their primal grind background hang out a little more on this go-round. Personally, I love the many moments on this album that evoke a "crustier", filthier Discordance Axis twitch-grind feel. That gets you songs like "Fiery Rebirth", "6 Million Miles" and "Harsh Reality" where you can actually grab ahold of these killer, thrashing riffs for a moment before being spun back out into the vortex.

Noisear never dissapoint. These maniacs spurt so much spontaneous, unpredictable sonic violence out of this record that even its brevity doesn't temper the overall aural overload. As with all of their releases, this is right up there with the weirdo-grind complexity and riff-experimentation / variation you'll find in bands like Antigama, Gridlink, Human Remains, early Brutal Truth, and, of course, Discordance Axis.


Track Samples:
Sample : Surrounded By Control
Sample : Murderous
Sample : Born Alone, Die Alone
Sample : Black Trust


CULTIC  Whip Seduction (LARGE)  SHIRT   (Crucial Blast)   20.00
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Released alongside the skull-stomping new Seducer (Expanded Edition) EP, the Whip Seduction shirt features a stunning, brand-new design by Cultic drummer and acclaimed illustrator Rebecca Magar. This design is exclusive to Crucial Blast, and features what could well be my favorite art from Rebecca / Wailing Wizard to date - for real, I'm possessed by an overwhelming impulse to get this tattooed on my person. Perfectly capturing the sleaze, filth, and carnal violence of Cultic's brand of atavistic, dungeon synth-soaked death metal, it's also one of the coolest designs that we've released over here at C-Blast. This is a highly quality three-color print courtesy of our collaborators at Forest Passage Printing, available on black 100% cotton Gildan garments. GET SEDUCED.

SHIPPING THE WEEK OF FEBRUARY 9TH, 2024.




BORIS  Pink (Deluxe)  2 x CD   (Sargent House)   19.98
Pink (Deluxe) IS CURRENTLY UNAVAILABLE FOR ORDER

Back in stock.

     

Here's another amazing late-oughts reissue that just came in, a new deluxe Ten Year Anniversary reissue of Boris's Pink, quite possibly the band's finest hour, resurrected via this crushing double-disc version and an even more monstrous triple-LP boxset, both filled to the gills with additional material. Originally released on Southern Lord here in the U.S., Pink further perfected the ultra blown-out psychedelia that had taken over Boris's sound throughout the decade, blending massive pop hooks and soaring melodies and heartfelt singing with their trademark use of downtuned guitar-crush and amplifier-torching noise. This was where people really started to lose their shit over this band, and their tour for the album here in the States was one of the most intense things I'd seen in quite some time. I probably pull Pink off the shelf more than any other album of theirs, and this reissue is a glorious re-examination of the band's work, pairing the original album with an entire extra disc of studio material titled Pink Sessions "Forbidden Songs", nine additional songs that were recorded during the same period and which compliment the album material nicely, serving up equal doses of their pulverizing slo-mo sludge, distorted psych blast and hazy, heat-warped pop. If you're a fan of heavy psychedelia and haven't heard this album yet, don't waste another second. Here's what I was ranting about back when we originally got the album in stock:

      The stateside release of 2005's Pink, courtesy of Southern Lord. It's a goddamn fantastic new studio blast from the band, starting off with a bleary haze of gorgeous crumbling shoegazer dirge that almost had us fooled into thinking that Boris was going to start copping Jesu/My Bloody Valentine-esque moves...but then they explode into that total destructo fuzzbomb rock that has been the focus of most of their recent albums. Eleven tracks of amped-up stoner/acid rock, saturated in tons of fuzz and reminding us of Guitar Wolf a bit, but totally crushing, every riff is godlike, and the band has incorporated melodies in a whole new way. Ultra rocking, but Boris also inject some of the other sound forms that they have worked with in the past, moving from crushing mega-drones, to blasts of ferociously noisy punk rock, to grim psych shades, and there is this ridiculously catchy, dare-we-say downright poppy melodicism that shows up throughout Pink that easily makes this the most accessible Boris album yet, while always remaining a fuzz-drowned acid/rock/sludge juggernaut. We've been jamming this album NON-STOP here at C-Blast, and we think that this might just be the ultimate Boris album, a masterpiece of catchy, epic, psychedelic heavy rock.

      As with the original Southern Lord version, the packaging for both versions of this reissue is exquisite. It's also almost completely different from the previous releases, as well. The double CD version comes in a clear jewel case that has the titles and the track list printed directly onto the plastic of the case itself, quite an interesting design effect; the booklet itself is a multi-part foldout that includes additional inserts, including perforated sheets designed in the style of old-school blotter acid. The LP boxset, on the other hand, houses the three records inside of a die-cut heavyweight folio, along with the assorted insert materials and a download card; fans should note that the vinyl edition actually features the original track lengths for the songs, some of which were edited for the CD versions, ultimately making this a distinctly different release from the CD.


Track Samples:
Sample : Farewell
Sample : Blackout
Sample : Just Abondoned My-Self
Sample : Heavy Rock Industry
Sample : Talisman


VRAJITOR’S TENEBRARIUM  E.N.L.D.  LP   (Avantgarde Music)   30.99
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There are certain things that grab my attention when it comes to discovering new bands and artists. I try to pay attention to several outstanding Youtube channels that post amazing demos, and Bandcamp releases from bands I've never heard of. Sometimes, I'll be searching through Metal-Archives.com for research, and I'll end up chasing some killer obscure act from Slovenia down a deep and twisting rabbit-hole. And when I'm working on Discogs, there's stuff that I see that will reach out and grab me by the throat. I'm obsessive about reading the "Style" line in band and release listings on that site. You never know what you might find.

Like a band described as "Prog Rock, Dungeon Synth, Funk Metal.

Alright, you' got me. And thus I stumbled across a band called Vrajitor’s Tenebrarium, a new (I assume) Finnish band with one member, a guy called Lord Vechi Vrăjitor, aka Juuso Peltola, who also plays in the black metal bands Warmoon Lord and Argenthorns. Avantgarde pouts out a lot of wild stuff (the label name is there for a reason), and when I picked up this debut album, covered in gloomy, wizard's castle-style artwork and beautifully designed in six-panel digipak, I couldn't wait to hear this thing. OK, so the whole "funk metal" tag is clearly someone being cheeky, but what it is, is some of the best Goblin / Italian prog-rock inspired mutation I've ever heard. This bizarre band wears its influences on its flowing, wizard-robe sleeves, but adds on a whole new level of groovy weirdness that's really different from the other Goblin-influenced outfits I listen to.

Kissed by gloriously nostalgic synthesizers, the opener "Et Mors Pallida Venebit" unfurls waves of majestic Tangerine Dream-esque electronics, symphonic grandeur, and huge-sounding church organs, all folded together into this striking keyboard-heavy introduction inhabited by a female vocalist that sounds like she wandered in from the Celtic Frost Into the Pandemonium sessions. A short but killer blast of synth-drenched darkwave then leads into the similarly synth-heavy prog rock of "Rubedo", filled with lush acoustic strings and spooky arpeggios that have an odd Fabio Frizzi vibe even as the metallic power chords and booming percussion kicks in. When this really starts to rock, it's fuckin' awesome. "Rubedo" has this distinctly 80's spook-prog vibe that's unmistakable, conjuring memories of both Frizzi and Goblin, as well as the weird gothic prog of Jacula and Devil Doll. The way this stuff is layered together with the crunchy, metallic guitars and driving backbeat is just spot-on, man. It's really not at all what I was expecting at first; it's the best type of surprise. Heavy, funky, pseudo-Italian goodness, where Vrajitor breathes much power and magic into the eleven songs, laying down infectiously catchy hooks and a hard rock backbone alongside all of his spirited weirdness. Some righteous saxophone shows up on "Black Frog" next to delicious woodwinds in the background, more elegant acoustic strings on "Lucus Horribilem Atque Pestilentem" as it erupts into a kind of Blue Oyster Cult-meets-Goblin ecstasy; the album feels mostly instrumental, although those feminine vocals and some echoing, chant-like voices do pop up throughout the album. The keyboards get even more Claudio Simonetti-esque as it winds through the labyrinth of moody progressive rock, heavy, crunching riffs, and soaring dark melody, but Vrajitor succeeds in giving this its own unique character, nimbly avoiding being another retro-Goblin-influenced outfit and producing a full, sensual piece of music that (despite the obvious influences) stands on its own as an incredible and original slab of occult Italo-prog. Those Tardo Pede In Magian Versus-era Jacula and Antonius Rex influences are every bit as prominent as the other stuff as well , especially whenever Vrajitor lays on that heavy liturgical pipe organ. The sounds of bouzouki (again, shades of Goblin's Suspiria) and clarinet spread through many of the tracks. There's some great experimental atonality in a few tracks, particularly the pair of songs that close the album, "Exorcismus" and "Semper Victimas Vult ", which wrap it all up with Gregorian-style chanting and an air of an arcane ritual ceremony. Stunning production, too. This album fills the air around me, with all of its intricacies and nuances. I also can't get over how much sax action is happening here, too - the winding jazzy convulsions of "Volantes Castrum" are one of the best on E.N.L.D., especially when the horn segues into some straight-up heavy metal guitar heroics, killer shredding matched by the wild onslaught of chamber strings, piano and whooshing synth. And it is indeed very "funky", the drumming performance propelling the songs forward into huge, massive grooves, eve sliding into stuff like the quasi-disco delirium of "Sanitarium Son".

It's the ultimate in 70's style "spook-prog", free of any kind of retro-irony. I can't stop listening to this. If you're as into the aforementioned bands as well as stuff like Daemonia, Anima Morte, Morte Macabre, Giallos Flame, and even older stuff like Sacrifice-era Black Widow and Halloween -era Outsider , this seriously gets the highest possible recommendation from me.



SKULLFLOWER  Evel Knievel  7" VINYL   (Sympathy For The Record Industry)   10.98
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Track Samples:
Sample : Diamond Bullet
Sample : Teenage Lightning
Sample : Even Knievel


INCANTATION  Tricennial Of Blasphemy (GOLD EDITION)  3 x LP   (Relapse)   39.99
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CHRISTIAN DEATH  Catastrophe Ballet  CASSETTE   (Season Of Mist)   9.99
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      Both Christian Death's Ashes and Catastrophe Ballet were recently reissued on limited-edition cassette tape, both already sold out from the source.

      While Christian Death did put out some highly listenable material after the departure of founding member Rozz Williams (at least early on), there's really only three Christian Death albums that you really, really need in your collection: the pioneering and provocative 1982 debut Only Theatre Of Pain, and the two albums with both Williams and Valor Kand that followed, Catastrophe Ballet and Ashes. All of these are key works in the death rock canon, and their combined influence has reached well into the realms of extreme metal, industrial music and beyond; any headbanger who turns their nose up at Christian Death's early works simply based on the band's campy look should consider sitting down and listening to these albums side by side with Celtic Frost's 80s output to see just how far the band's black tendrils extended. There's been a recent resurgence of interest in the early Christian Death material, though, what with this whole death rock revival thing that's been going on for the past few years, and it looks like a whole new generation of listeners has been turning on to the weird, morbid genius of Rozz Williams. Not a moment too soon, I say. We've had the reissue of Only Theatre Of Pain available here for awhile, but up till now never stocked the following two albums, both of which were reissued by Season Of Mist in 2009; featuring booklet materials from the original first edition LP releases on L'Invitation Au Suicide and newly re-mastered, both come with the highest recommendation for anyone obsessed with true death rock and the most macabre fringes of post-punk.

      Originally released by the French label L'Invitation Au Suicide in 1984, Catastrophe Ballet is an all-time deathrock classic, part of the essential Christian Death canon. It was also the first release to feature new members Valor Kand and Gitane Demone, both of the LA post-punk outfit Pompeii 99; for this new album, Williams and his new lineup shifted away from the creepy, transgressive punk of their debut, into a more expansive and psychedelic sound that was slightly more accessible, but no less twisted. Dedicated to the memory of Andr? Breton and featuring excerpts from Jean Lorrain's classic text of nightmarish decadence, Nightmares Of An Ether Drinker, Ballet saw Williams getting deeper into his obsession with French surrealism and Dadaism, though this did nothing to improve his terminally dour mood. From it's opening salvo of sinister, kitschy haunted house organs that pave the way for the heavy bass-driven post-punk of "Beneath His Widow" (a bonus track that appears here for the first time), to the surrealistic washes of experimental texture and droning instrumentation of "Sleepwalk", the driving, disaffected menace and gloomy elegance of "The Drowning" and "Evening Falls", the pounding tribal rhythms and twitchy, stop-start momentum of "Cervix Couch" smeared in trippy Hammond organ textures, and the ritualistic dreamlike haze of "The Glass House", the band's sound was clearly becoming more sophisticated and experimental. That fey, androgynous howl that Williams belted out on the first record is replaced by a richer, more resonant croon that's frequently been compared to David Bowie, and he was often joined by Gitane Demone's soulful, sometimes bluesy wail, which added a new wrinkle to Christian Death's sound. Many of the songs on Ballet are sublimely catchy, but they also ventured further afield into the kind of creepy experimental soundscape work that Williams would explore with his solo projects later in the decade, tracks like "The Fleeing Somnambulist" blending together looping vocals, vast sprawls of warbling drone and distant industrial rumble, swells of psychedelic electronic noise and random percussion, dreamlike terrain strafed with the dark carnival sounds of what sounds like a steam-powered calliope. This results in one of the more adventurous dark post-punk albums from the era, combining themes of violence and death and eroticism with haunting hooks and an unsettling, though often strikingly beautiful vibe as no one else could. Crucial.


Track Samples:
Sample : CHRISTIAN DEATH-Catastrophe Ballet
Sample : CHRISTIAN DEATH-Catastrophe Ballet
Sample : CHRISTIAN DEATH-Catastrophe Ballet
Sample : CHRISTIAN DEATH-Catastrophe Ballet


BUZZOVEN  Violent Hits  CD   (Rusty Knuckles)   12.98
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RAMLEH  Night Hair Child  7" VINYL   (Sympathy For The Record Industry)   10.99
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Definitely one of the more obscure Ramleh releases from the early 1990s, this two-song EP from 1995 is kind of an outlier in the Ramleh back catalog as it is. The vivid, vaguely grotesque sleeve art (courtesy of Pablo Savant) seems to aim towards the at-that-point exploding "alternative rock" in the mainstream music industry

recorded and released the same year as the band's Be Careful What You Wish For album

I'm guessing that this song takes its name from the alternate title to Andrea Bianchi (Burial Ground's 1972 horror film aka What the Peeper Saw; the guys in Ramleh are certainly no novices when it comes to vintage Euro-horror.

Whistles and squeals and mayhem strays through the atavistic Stooges/Hawkwind/noise rock adjulation of "Night Hair Child (Empathy For K.C.)"; this slightly more musical-minded compared to some opf the other sonic barbarism that Ramleh were spewing in the 1990-1995 era, but it's still waaay out there screamin' towards the KHYBER BEL:T< spaced-out electronics and dundering punk riffs blasted with some incredibly vibrant drumming that's all over the place, heavy and howling and completely freaked out neo-noise-damaged-psych-thud, working it's way down to a simple two-chord riff that just pounds you straight into the soft earth for awhile. Gloriously fucked up.

But "Dicey Opera" gets into the creepzone with some angusihd film dialogue leading you into a greyhaze sonic swamp of buzzing high-voltage electronics, rumbling incoherent sludge, effects-drenched feedback freakouts that shoot straight into the ionosphere. Slower and more abstract, this one does a pretty good job of matching the vibe of Pablo's gnarly apocalyptic sleeve art, freeform nuke-charred psychnoise smeared over monstrous slow-mo aleatory drumming and explorative guitar skree, all of this coalescing into a six-minute long dark and roiling ckloud of pre-millenial dread that traisl off into the wasteland.



TREPANERINGSRITUALEN  Veil The World  LP   (Cold Spring)   32.00
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One of Trepaneringsritualen's more renowned early releases, Veil The World originally came out on cassette in a super-small run in 2011, and was later issued by Cold Spring on CD. This is a more recent 2021 vinyl pressing of the release from the same label, this slab of slavering Swedish ritualistic industrial and possessed rot worship presented in a brand new jacket design and pressed on 180 gram "bone white" vinyl, in a limited edition of five hundred copies.

On Veil The World, Trepaneringsritualen delivers my favorite mode of his work, with a series of pounding rhythmic industrial workouts that are immediately infectious and invasive, rattling the listener with steady technoid drumbeats and clanking percussion drenched in filthy murk and overlaid with those trademark harsh, black metal-esque blood-chants, the sound taking on a mesmeric, ecstatic cadence. This is the stuff that envelops a room and creates a mass of swaying bodies, a furious dancefloor-pounding industrial assault drenched in a ritualistic fervor. The title track is one of the prime examples of that sort of stuff, and one of Trepaneringsritualen's most infectious tracks; but the album is also offset by some rather nightmarish drift that appear on tracks like "Cherem" and "Avgrunden", combining evil, blackened ambience and malevolent metallic noises with guttural, inhuman vocalizations and gusts of foul, subterranean dankness.

Taken together, that combination of mesmeric, ritualistic industrial and abrasive, abstract deathscapes is what makes this project so potent. Like the electrified throb that pulsates through the ghastly death-dirge of "Lightbringer", or how "Drunk With Blood" writhes within a kind of blackened power electronics, garbled demonic shrieks stretching out beneath waves of deformed synth noise and sputtering, noxious bass. Other tracks rumble with the slow hypnotic thud of war-drums, while blasts of distorted heaviness thunder across the distance, and bursts of sickening, irradiated electronic drone sweep over vast fields of charred, blackened low-end rumble. Compared to some of the other, more ambient reissues that have come out recently, this stuff is pretty intense. And the whole thing closes with a cover of Death In June's "C’est Un Reve" that fits in perfectly among the rest of the album, transforming the song into a punishing assault of grimy, clanking industrial pummel. Over a decade later, this recording continues to stand as one of the most definitively abject, evil-sounding, and ferociously aggressive releases from Trepaneringsritualen.


Track Samples:
Sample : TREPANERINGSRITUALEN-Veil The World
Sample : TREPANERINGSRITUALEN-Veil The World
Sample : TREPANERINGSRITUALEN-Veil The World


DEATHSPELL OMEGA  The Synarchy Of Molten Bones  LP   (Norma.Evangelium.Diaboli)   23.99
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GRAVESIDESERVICE  Masters In Lunacy (Original Pressing)  CD   (Church of the Immaculate Deception)   9.99
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Track Samples:
Sample : Trephination
Sample : Electroconvulsive Therapy
Sample : Suicide Watch


CAVE IN  Until Your Heart Stops (REISSUE - TRI-COLOR SPLATTER VINYL)  4 x LP BOXSET   (Relapse)   90.00
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Track Samples:
Sample : Halo Of Flies
Sample : Moral Eclipse
Sample : The End Of Our Rope Is A Noose
Sample : The End Of Our Rope Is A Noose (Demo)
Sample : Mr. Co-Dexterity (4-Track Demo)
Sample : Ebola (God City Demo)
Sample : N.I.B. - Steve Lead Vox (God City Demo)


CELTIC FROST  To Mega Therion (Deluxe Reissue)  CD DIGIBOOK   (Noise)   14.99
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BOTCH  061502  2 x LP   (Hydra Head)   24.99
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      Gorgeous new vinyl edition of Botch's last live performance, previously released as part of the band's 061502 DVD and CD set. Re-mastered for vinyl, these two LPs come in printed inner-sleeves, housed inside of a heavyweight case-wrapped gatefold jacket, and issued in a limited edition of two thousand copies. This still stands as one of the most ferocious live performances I've seen documented on video, and that energy bleeds through every second of the recorded audio from this concert. Here's the old review of the live material from the CD release:

      For all of us that couldn't cough up the plane tickets to Seattle, Hydra Head has finally delivered this document of that last show from 2002. A mighty math-metal destruction machine, Botch beamed massively heavy yet super melodic and intricate jams, every one of their songs a devastatingly epic assault of chugging, confounding riffage, weird effects, earth shaking bass, complex angular rhythms n' dizzying time signatures, and monstrous roaring vocals. One of the most important and influential bands of the 90's underground heavy music scene, Botch sent hardcore spiraling off into a whole 'nother direction. This captures their final performance on June 15th, 2002 at the Showbox in Seattle, Washington. The footage is amazing, capturing the incredible energy of the band and an entirely appreciative crowd that flip out throughout the entire length of the show...their explosive, emotional set runs through pretty much all of their crucial stuff: "St. Mathew Returns To The Womb", "C. Thomas Howell As The "Soul Man"", "John Woo", "Japam", "Oma", "Frequency Ass Bandit", "Thank God For The Worker Bees", "Framce", "Third Part In A Tragedy", the cover of "Rock Lobster", "Transitions From Persona To Object", "To Our Friends In The Great White North", "Hutton's Great Heat Engine", and "Man The Ramparts". Obviously, this is something that any Botch fans aren't going to want to miss, but this should also be mandatory viewing for anybody that wants to bear witness to one of the most progressive, influential hardcore bands ever, who pretty much changed the shape of "math-metal" as we know it.



KULTURA KURENIJA (SMOKING CULTURE)  Cold Wires / Cement  CD   (Maa Productions)   12.98
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AUROCH  Mute Books  CD   (Profound Lore)   13.98
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Track Samples:
Sample : Tipharethagirion
Sample : Say Nothing
Sample : Cup Of Hemlock


BAND, RICHARD  Ghoulies (Original Soundtrack)  LP + 7"   (We Release Whatever The Fuck We Want)   36.99
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Track Samples:
Sample : Bring Forth The Ghoulies
Sample : First Incantation
Sample : Main Titles


CAMERON, JOHN  Psychomania  LP   (Trunk Records)   26.98
Psychomania IS CURRENTLY UNAVAILABLE FOR ORDER

      Finally back in print on vinyl, just in time for the brand-new deluxe Blu-ray/DVD reissue that's coming out through Arrow Video.

      Mostly known for reissues of deep-cut jazz/psych obscurities, British label Trunk Records had put out a couple of horror-related albums that I'd been wanting to get in stock for years, but which had gone out of print. One was the Dawn Of The Dead Unreleased Soundtrack Music compilation that features the obscure Music De Wolfe library pieces from Romero's apocalyptic zombie epic, and this, the sublimely sinister and psychedelic long-lost John Cameron soundtrack to cult classic British occult biker film Psychomania. In the hazy post-Hammer landscape of 1970's-era British horror cinema, Psychomania has always stuck out with its deranged tale of a hell-raising, devil-worshipping biker gang calling themselves "The Living Dead", and their ill-fated bid for immortality via toad-fueled necromancy and crazed supermarket carnage. It's a hoot, with numerous memorable scenes of nutty biker action, half-baked occultism, and some fantastic dialogue; no wonder it's been heavily referenced by fans of British black magic schlock like Electric Wizard and Satans Satyrs.

      Despite the film's cult following in horror/occult cinema circles, Cameron's Psychomania score was apparently never released in its entirity, with the only official release of music from the film being the two-song Witch Hunt / Living Dead 7" that came out in 1973, featuring two key themes from the film performed by Cameron's ad hoc psych outfit Frog that was formed specifically for the score. That original 7" alone has commanded some hefty prices on the collectors market, so it was great to have the entire score finally released by Trunk around a decade ago. Now back in print, we're getting this disc on our shelves for the first time, and get to revisit this bizarre soundtrack and its terrific low-fi psychedelic sleaze.

      For Psychomania, Cameron enlisted a group of British jazz musicians (going by the aforementioned "Frog" name) to perform his macabre arrangements, performing a set of tracks that craft an uncanny, hallucinatory atmosphere that kick in like good blotter, a killer mix of fuzz-encrusted psych and avant-garde gothic creep. The wah-fueled evil psych that plays over the opening "Psychomania Front Titles" combines airy flute with some seriously skuzzy funk bass and an infectious shuffling groove, producing some cool sinister instrumental rock; from there Cameron continues to exude a druggy, delirious atmosphere that goes well with the hell-raising, devil worshipping insanity on the screen, moving from spooky gothic organ and mesmeric krautrock grooves to minimal drones and echoplex-drenched piano, dropping in some raunchy garage-rock numbers like "Motorcycle Mayhem", belting out wailing female choruses and whirling gusts of witchy weirdness, and there's even some menacing keyboard-streaked tracks of hypnotic progginess that recalls the likes of Goblin. Some of the more memorable dialogue from the film is scattered among the musical tracks, and there are some lighter moments amongst all of the macabre fuzz-guitar jams, like the eerie woodwinds and gently plucked strings that form the nocturnal balladry of "Abby's Nightmare", and the unmistakably 70's-era folk rock that shows up on "Riding Free", the only track on the album that features actual singing. Some of the tracks feature brief cues that run only a few seconds in length, but there's plenty of longer tracks as well to sink your teeth into.

     The whole score was re-mastered for this release, but as label boss Johnny Trunk discusses in his liner notes, it was a tough job due to the deterioration of the original studio reels; that produces a bit of murk in the sound quality, but that's fine by me. It's still a highly listenable release that fans of the film should be greatly pleased with. The back of the sleeve features liner notes from composer Cameron, Trunk and someone named Jogoku, with Cameron describing how he utilized a variety of experimental recording techniques to create his unearthly sounds, from prepared piano noises to processed vibraphones and Hammond organs that he ran through a bank of effects units. A real blast, still one of the kookiest horror scores of the era, highly recommended for fans of vintage psych-creep and sinister experimental weirdness.


Track Samples:
Sample : CAMERON, JOHN-Psychomania
Sample : CAMERON, JOHN-Psychomania
Sample : CAMERON, JOHN-Psychomania
Sample : CAMERON, JOHN-Psychomania


VARIOUS ARTISTS  Epicurean Escapism III  CD + DVD   (The Epicurean)   26.98
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SIMONETTI, CLAUDIO  Demons (OST - PURPLE MARBLE EDITION)  LP   (Rustblade)   34.00
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Available on LP (limited to six hundred sixty-six hand-numbered copies on blue vinyl), digipack CD, and a deluxe steelbox set.

"They will make cemeteries their cathedrals, and the cities will be your tomb..." Thus goes the prophetic warning that heralds the onslaught of razor-taloned, pus-spewing 80's horror insanity that is Lamberto Bava's Demoni, or Demons as it was titled for the American release. Outside of his work with the legendary prog rock outfit Goblin, my favorite solo score from keyboardist Claudio Simonetti has always been his nutzoid work for this gore classic. One of the decade's most infamous splat attacks, Demons was a high-energy assault upon your eyeballs, setting loose an army of flesh-ripping, pus-spewing horrors upon the helpless patrons of a sinister Berlin movie theatre, and setting the ensuing carnage to an insane soundtrack that combined Simonetti's bombastic score with a raucous heavy metal playlist that included songs from Motley Crue, Saxon and Billy Idol. For his part, Simonetti used the sort of spiraling gothic synthesizers that marked his work in Goblin, but combined them with hammering drum machine rhythms and harsh, staccato orchestral stabs for something that at times almost sounds like a cross between Goblin and the brutalist electro-funk of Tackhead. While this killer score was finally released in full via a 2003 CD on label Deep Red, it's only now that Simonetti's Demons is being issued on vinyl as a standalone score as a 30th anniversary reissue, along with brand new, definitive CD editions that contain never before released material.

And man, I love every aspect of this score, it's maniacal Euro-disco throb and pounding mid-80s electro and orchestral sounds that fuels so many of these pieces, funky and ferocious and hallucinatory all at once. The propulsive murderous hypno-rock of "Killing" that Simonetti fleshes out with a wicked ascending string arrangement that turns it into one of the best action pieces I've ever heard, and the bizarre tribal rhythms and staccato drum machines that power the weird Gothic electro-funk of the main "Demon" theme, with it's weird sampled vocal noises and an ass-shaking synth riff make another memorable piece. Elsewhere, he incorporates screaming heavy metal guitar solos with pulsating synth, or stretches of jazzy organ and soulful female vocals that subtly mutate that signature funky theme; some of this is very experimental, like the unsettling combination of industrial rhythms and dissonant orchestral samples on "Cruel Demon", or the swirling cyclical synthdrones of "Threat" that transform into a quick blast of discordant strings; glitchy melodic fragments are layered over deep Moog drones, and backwards-masked noises and strange edits that produce a disturbing effect. This score is so catchy that it works perfectly even completely separated from the gross visuals of Bava's cinematic nightmare; it's all very deliciously 80's, and there's definitely a few moments on here that are very reminiscent of Simonetti's later Goblin work from the 80s, but much of it resembles a more gothic take on the industrial funk of Tackhead, which may look weird on paper but sounds goddamn phenomenal to my ears. An excellent reissue of one of my favorite film scores of all time, a classic blast of 80's Italian hyper-splatter that I love so much I had to pick up every single version for my own collection.

The LP and CD versions of this reissue feature a bunch of bonus material, including "Demon's Lounge", an awesomely jazzy version of the film's main theme complete with Rhodes piano and soulful female singing; demo versions of several of the main tracks; an eerie demo version of the main theme played on electric piano; a KILLER breakbeat version of the main theme from Simonetti's Simonetti Horror Project album from 1990; and it' capped off with a seriously bizarre (and surprisingly burly) heavy metal version of "Demon" performed by Simonetti's prog-metal outfit Daemonia in LA in 2002. And for the disc, there are also a couple of Quicktime videos included on the CD version of 1985 Italian TV commercials for the original Demoni soundtrack release that RULE, along with some additional photo galleries.

In addition, the super-limited deluxe boxset has that digipack CD as well as a bonus CD that features the entire score remixed and radically altered by the likes of Ohgr (Skinny Puppy), Cervello Elettronico, Simulakrum Lab, The Devil And The Universe, :Bahntier//, Needle Sharing and Leather Strip, as well as additional tracks from Fangoria scribe and electronic musician Chris Alexander and Creature From The Black, and also incudes a metal Demons badge, a full color art insert, and a postcard reproduction of the Metropol ticket seen in the film, all housed in a hinged tin box and limited to four hundred ninety-nine copies.



ASTHAROTH  Gloomy Experiments + Demos  2 x CD   (Dark Symphonies)   13.99
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I still have copies of the Polish import Metal Mind reissue that just features the album itself along with eight bonus tracks taken from the demos, and is beautifully packaged in a glossy digipak. The more recent Dark Symphonies reissue expands upon that with jewel case packaging and a 20 page booklet loaded with new liner notes, album and recording info, pics, and complete lyrics, but even more importantly, a second disc that is packed with demo, studio, and live material, much of which has never been previously released. Very nicely done. I myself had to upgrade to this one just because of the whopping 65 minutes of additional recorded material on a second disc.

Here's my older review of the music from the Metal Mind reissue :

Another older Metal Mind reissue that I'm just now discovering, Astharoth's 1990 debut Gloomy Experiments is a lesser-known prog-thrash obscurity from this Polish outfit that I just recently discovered after reading about them on some "weird thrash" list someone had posted online. Being someone who can never get enough oddball thrash, I went looking for this album after seeing them described as an unusual Voivod-influenced outfit, and Experiments turned out to be a great discovery. This stuff is a highly confusional brand of progressive thrash metal, pretty wonky stuff actually, and additionally stands out for being one of the few European thrash outfits of the time to have a female lead guitarist (Dorota Homme), who also contributes vocally for a really unique and eclectic style.

These guys were obviously drawing heavily upon both the otherworldly, spaced out dissonance of Voivod and the pummeling Teutonic thrash of bands like Kreator and Destruction with rampaging tempos and ferocious buzzsaw riffage, but that was then filtered through a quirky, somewhat spaced-out vision that rendered this into something much more unique. The guitars have a lush, textural feel, the vocals are a youthful snarl that matches the energy of the music, with introspective lyrics, and the songs shift between that furious thrash metal, strange almost jazzy guitar explosions, wild shredding, groovier rocking moments, some obvious post-punk influences, icy dissonant chords, all wound together into a set of nine sprawling, elaborately laid out songs that are delivered with an energetic, not too polished delivery. Intricate and brainy metal with lots of surrealistic atmosphere. Can't say I've heard anything quite like this album. The experimental, ambitious aspects make this something that fans of classic prog-thrash a la Coroner, Watchtower, Voivod, Mekong Delta and the like would want to check out, but Astharoth are much more prone to slipping out of their thorny thrash into sequences of chorus-drenched progginess that leads their album into unexpected directions. While Astharoth's Gloomy Experiments aren't essential if you're into progressive / weirdo thrash metal, their stuff is certainly interesting if you're into the weirder fringes of late 80s/early 90s thrash metal. This reissue pairs the album up with an additional seven bonus tracks that were recorded after the band relocated to the US in the early 90s, much of which gets into even more Voivodian territory.

OK, so on to the second disc that comes with the Dark Symphonies reissue. This one is awesome, with loads of unique, non-album material. You get a total of fourteen tracks, remastered versions of every demo the band ever did. This stuff varies in quality both in terms of songwriting, performance, and recording quality, but it's all crucial listening if you are a fan. I love the chronological track order, tracing their music from the early, chaotic roots through to the more sophisticated prog-thrash of their album-era material. The songs that feature the combination of female and male lead vocals are really great, too: "Wisdom Of The Blind" sounds as much influenced by the punchy post-punk of Killing Joke and Ghost Dance as it is by Voivod, Watchtower and Testament. Actually, in some ways this band feels like it shares more genetic material with Anacrusis than anyone else I can think of. The non-album songs prove to be pretty intriguing, with some of this demo material going even deeper into prog-rock territory than they did on Experiments. You get the 1991 Wisdom Of The Blind demo tape ("Wisdom Of The Blind", "Misplaced Senses", "Nameless"), the 1992 Limits demo tape ("Limits", "Egos Of Myself", "Accused"), the 1994 Cycles Of The Sphere demo tape ("Cycles Of The Sphere", "Denial"), and the 1990 Self-Hatred demo tape ("Toll Of Hypocrisy", "Self-Hatred", "Gloomy Experiments", "Circles Of Confusion"). There is also a previously unreleased song, "House Of Frustration", and a live track ("Drunk Hate ") that appeared on the Metalmania '89 compilation that came out on the obscure Polish cassette label Atomica.



DEAD NEANDERTHALS  Blood Rite  CASSETTE   (Utech)   9.98
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COWS  Daddy Has A Tail  CD   (Amphetamine Reptile)   14.98
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Track Samples:
Sample : Sugar
Sample : Chow
Sample : Shaking


VOIVOD  Rrroooaaarrr (Reissue)  LP   (Noise)   23.00
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CATATONIC EXISTENCE  Elect Me God, And I'll Kill You All  CD   (Epic Recordings)   16.98
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As big a fan as I am of weird, messed-up industrial metal, I'd never heard of this obscure California outfit until now. Apparently best known for being a side-project from one of the guys in the notorious grindcore outfit Meatshits, Catatonic Existence popped up briefly in the mid 90s, releasing a split CD and a seperate split 7" with the aforementioned 'Shits, and the two song I'll Kill You All! 7" from 1994, before disappearing back into the boiling black sewer from which they emerged. The band was essentially a one-man effort from Guy Mulidor, with some additional contributions from Meatshits founder Robert Deathrage on vocals, sampling and keyboards, but it's quite different from the other stuff that these guys were doing. It's just as nihilistic and misanthropic, sure, but the music is a bizarre sort of primitive, industrialized electro-metal, not quite the Godflesh worhip that you might expect (although they are cwertainly an influence on this stuff). No, this is much weirder and much more fucked-up. Pounding double-bass drum machine rhythms and machinelike programmed pummel drill through songs like "Guy Told Me To" and "The Last Temptation", tinny thrash riffs buried in the mix beneath Mulidor's monstrous guttural gorilla-grunts, while the bass guitar and synths often break into these odd funk parts, even breaking out some actual slap-bass moves in some of the weirder moments. Also, this stuff us fucking loaded with samples, with long film samples from early 90s movies like Judgement Night and Needful Things as well as fragments of news reports and various other movies are strewn throughout the songs, and there are big chunks of this stuff when the metallic elements drop out and it turns into a demented kind of EBM, some fucked-up, meth-addled take on Front 242. It's not for all tastes, I can tell you that. The awkward song structures, the bizarre funk bass, the squelchy Wax Trax synths and weird bossa nova percussion breaks, the overload of samples and the willfully anti-human attitude, all turns this into a kind of outsider mecha-metal that manages to transcend being just another Godflesh clone. It's weirdly infectious, especially if you've got a taste for weirdo electro-sludge like Black Mayonnaise and stuff in that general vein.



BOHREN & DER CLUB OF GORE  Geisterfaust  CD   (PIAS Recordings)   16.98
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FIRE  Issue 2  MAGAZINE   (Fire)   14.98
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LUSITANIA  self-titled  LP   (King Of The Monsters)   10.98
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HEROINE SHEIKS, THE  The New York Post-Punk / Noise Series: VOL II  DVD   (Robellion)   14.99
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CYBER-PSYCHOS A.O.D.  Issue 4  MAGAZINE   (CyberPsychos AOD Publishing)   6.00
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SKIN CRIME  Recycled Music Series  CASSETTE   (RRRecords)   4.98
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Track Samples:
Sample : Recycled (1)
Sample : Recycled (2)
Sample : Recycled (3)


GREAT KAT, THE  Beethoven Shreds  CD   (TPR Music)   10.99
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EXECUTIONERS MASK  Winterlong  LP   (Profound Lore)   24.00
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OBERON  Techen Metal  LP   (Nuclear War Now! Productions)   19.99
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Man, if there's a record that I've picked up recently that just screams "outsider metal", it's this collection of recordings from an obscure Bulgarian band called Oberon. Nuclear War Now put this out a little while back, gathering together the band's 1993 Liquid Metal, all of their recorded material glued together with vomit, over-the-top blasphemy, and a totally batshit approach to songwriting and atmopshere. This stuff is nuts. Just from the sleeve art and the structure of the first song "Devil's children", it is obvious that these guys had been spendinh an inordinate amount of their free time listening and worashipping the jmusic of OG Satanic rippers Venom, working to channel that primitive black thrash sound and hellish imagery into their own frantic vision. Some of the classic early NWOBHM stuff clearly had an effect on them as well, as certain elements of that sound crop up here and there on songs like " Hell Awaits You". So far, so good, so slaytanic. But as you progress through these fourteen songs, something starts to sound increasingly wrong and warped, you realize that the guitar and bass sound inordinaztely blown-out and overmodulated, like they are being lined in directly to the recording deck. And then "Guts Of Death" comes on and it's this freaking whacked-out major key prog-punk type thing mixed with some more sloppy thrash / speed metal , screaming guitar solos that sound like they could have tumbled off an errant Molly Hatchet record, and those gross gurgling shrieks that occupy just about every corner of this record. By this point, I'm in love - within four songs, the dudes in Oberon have completely electrocuted my brain.

And it's on from there to pretty instrumental guitar arpeggios blossoming into insane necrotic thrash that constantly sounds on the verge of falling apart, then jumping into these vicious mid-tempo mosh breaks, more bursts of freakazoid heavy metal shredding and barbaric blasting drums, the songs starting and stopping in often seemingly arbitrary points. With all this going on, it all sounds legit menacing too, even with those bizarre almost poppy parts that spring up every few songs. At it's core, this is primitive Venom worship but filtered through the depraved minds of these young guys, that underlying lo-fi blackthrash tearing through the bulk of the collection. It's just so undeniably weird, I mean really weird, delivered through a mixture of energetic but inexperienced instrumental prowess and a coompleteky zonked-out feel for how to write a song. The results are glorious. Now that I think about, it dawned on me that I originally learned about these guys after reading about 'em on the ever-awesome "Noise Metal" list put together by one "MarsHottentot"' on the RateYourMusic.com site, a list that's at this piint like some kind of lost biblical text for me , a kind of "Nurse with Wound list" for addicts of the most berserk, low-fidelity fringes of underground metal over the decades. It's crucial, and these guys belong on it. "Deceiver" is an insane blast of noisecore-esque ultra-chaos with crazed widdly shreddin, yet another wild diversion alongside the accidental prog bits, mutated formless thrash, brain-damaged erratic dirge workouts, long bouts of freeform screaming and gibberish, moments where it sounds like the whole band is trying to perform in the midst of a 7.0 earthquake; shit goes completely mental on the song "Liquid Metal", where it sounds like the guitarist is attempting to play the main riff from Metallica's "Seek & Destroy" while everything else is this fucked-up, sludgy lurching mess that feels like a largely improvised goon-punk freakout a la Kilslug or something. Looking at the notes , it states that this berserk chaos comes from the band' s "Nine Circles Of Hell" rehearsal tape recorded in March '93 in a local community center - imagine, if you will, a four-track collision of Witching Metal-era Sodom , Drunks With Guns, and Hanatarash. These recordings feel a bit like that. This stuff has apparently never been previously released, and it is brain-glazingly nuts. I'm talking about a Shaggs-like approach to speed/thrash, they've got the energy and aggression in spades, but the delivery comes out completely unique and disconnected, and thus inadvertantly brilliant. At least for me. Nuclear War Now mentions the far-away but like-minded strangeness of the Colombian "ultra metal" likes of Blasfemia, Parabellum, and Reencarnación, and that's pretty accurate as far as letting you know just how fucked up and psychotic Oberon's music is. Not for those seeking sanity in their metal, for sure. One of the best things I've experienced lately, I can tell you that.


Track Samples:
Sample : 5F0 =0 4O2>;0
Sample : "5G5= <5B0;
Sample : '8AB8;8I5


SUNLESS  Ylem  LP   (Willowtip)   24.99
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CHOP SHOP  Recycled Music Series  CASSETTE   (RRRecords)   4.99
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Track Samples:
Sample : Recycled (1)
Sample : Recycled (2)
Sample : Recycled (3)


MORBID OPERA  self-titled  CASSETTE   (TPOS)   6.99
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Track Samples:
Sample : Love Is Death
Sample : Sledgehammer
Sample : War Dream


TIR  Mountains  CDR   (Elegy Records)   9.99
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HIGH NOON KAHUNA  Killing Spree  CASSETTE   (Crucial Blast)   10.00
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As of early 2023, the band High Noon Kahuna is firmly in my personal list of my three best-loved, absolutely favorite local bands. I could be accused of a certain amount of bias, seeing as how I've been friends with some of the members of this band for over thirty years. But it's really about how strongly this band scratches my itch for bitchin' noise rock. And these guys dig at it like it's 1994. A full-on POWER trio, the Kahuna crew include dudes who have done time in some local institutions like seminal Maryland doom metal outfit Internal Void and mangy math-rockers Admiral Browning, as well as lesser-known but no less bangin' operations like the electronic-damaged slowcore duo Black Blizzard and the cult art-punks Vox Populi from West Virginia. So there's a lot of experience being funneled into this band.

The American post-punk vibe reverberates beneath everything these guys do, but that cymatic force arranges their pieces into new and energetic shapes. When thinking about how to describe High Noon Kahuna, the best I have been able to come up with is asking you to imagine the following brew: merge the raucous, ascerbic wit and muscular stage presence of God Bullies with a heavy smattering of early Sonic Youth, back when that latter band was still in the same zip-code as the NYC noise-skuzz crowd; add to that already-pungent mix a huge dose of bulldozing Melvins-level drone-crush that enters zones of eruptive metallic crunch just when you're not expecting it, and a chronically wicked guitar attack that is touched (in the head) by the cumulative energies of Dead Kennedys's East Bay Ray, vintage O.G. surf licks a la Dick Dale and Eddie Bertrand, and just a dank whiff of second wave black metal. All at once.

Since they've started hitting the live circuit en force, the "surfy" aspect seems to be something that some people have focused on, but that's just one strand of the DNA; High Noon Kahuna are more brooding, soulful, and battering-ram heavy than you might otherwise guess, with a rhythm section ready to drive you into the dirt like a rusted nail. Take it from me, these guys rule. If it was indeed 1994, this band would have already been added to the Amphetamine Reptile roster in a heartbeat. Bit it's not, and they aren't, so we've got the goods. Come and see. Come and hear. The band self-released their debut full-legth album Killing Spree earlier in 2022, but with some brief touring on their horizon and my ongoing lust for analog, they've partnered up with Crucial Blast to deliver this audio cassette edition of the album. Not just that, but an entire half-hour-plus mass of sound on the b-side called "Foreshadowing Vol. I", a slammin' sound-collage of songs-to-be, tape-noise antics, crushing riff-workouts, and nascent hooks that can only be heard by playing the flipside of this particular little infernal machine.

This limited-edition cassette is released in a run of one hundred copies, with full color tape art on black shells.


Track Samples:
Sample : Sand Storm
Sample : Black Lodge
Sample : Parachute


LORD KAOS  Thorns Of Impurity  CD   (Nuclear War Now! Productions)   13.99
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ALLIN, GG  Freaks, Faggots, Drunks & Junkies  LP   (Aware-One Records)   16.99
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Now also available in a limited-edition 2022 "shit mix” colored vinyl edition for all of you distinguished aesthetes out there.

In 2016 year of our lord, it's almost unfathomable that this rare beast could have once stalked the face of the earth. But when I need a real social palette cleanser, I turn to the late 80s GG Allin stuff. And this motherfucker is top of the pile, one of the filth-king's rattiest and nastiest albums. The fifth album from Allin and originally released on Gerard Cosloy's Homestead Records, Freaks captures the beast during my favorite period of his career: with this particular expression of his monstrous Id, Allin enlisted the talents of Bulge, who otherwise belched out a couple of rippin' thrashcore releases on Ax/ction and Fudgeworthy in the early 90s, and who featured members of Gonkulator, Jesus Chrust, and Psycho. Bulge's drummer Charlie Infection had already previously worked with Allin by including the song "I Wanna Suck Your Cunt" on the Welcome To Ax/ction Island compilation. Bulge was a relatively tighter, more "stable" band compared to Allin's previous backing group, so the team-up made sense.

That said, this album is a warzone: a pitch-shifted GG lays down the law with the spoken word intro "My Revenge", then throws us headfirst into a nineteen-song orgy of drug-damaged blues riffs and monstrously fucked-up hardcore punk. His vocals sound totally scorched here, like the man has been swilling gasoline in between vocal takes. "Be My Fuckin Whore"' offers a litany of degradation and misogynistic abuse set to primitive hardcore, with some almost Greg Ginn-level guitar warp going on when it rips into a solo, followed by the thirty-second noisecore-esque blast-chaos of "Suck My Ass It Smells". "Dog Shit" delivers what is possibly my favorite line from the guy, "...Get the fuck outta my bread line...", and that general mean-spirited, ragged hardcore attack makes up the bulk of Freaks.

Other scorchers include sickoid mid-tempo rippers like "Anti Social Masterbator" (sic)and "Last In Line For The Gang Bang" that collectively climb right into your head and won't leave. You've got a nod to David Allan Coe via "Outlaw Scumfuc". And with the messed-up and overtly brain-damaged moments like the lumbering, tuneless skull-beating on "Wild Riding" and "Crash & Burn" , Allin and crew puke up a kind of Flipper / Kilslug / Black Flag-style scum-dirge that's swarming with gruesome guitar skronk, grating atonal synthesizer, go-nowhere sludgepunk riffing, and some of the more unsettling and orgasmic vocals we've heard from Allin. Goddamn awesome stuff. The closer "My Bloody Mutilation" is a drawn-out, industrial nightmare, a fog of clanking, metallic atonality and tortured invective screams, raving madness set to a oily black shimmer of deformed ambience, almost Abruptum-like in it's sheer abject hideousness. But if I had to give you just one reason to pick up this atrocity, it's the song "Die When You Die" (actually itself a sort-of cover of Destroy All Monsters's proto-punk classic "You're Gonna Die" ), a perfectly formed piece of anti-social, anti-human punk rock that has gone on to be covered by countless punk and black metal bands in the decades since. It's one of the greatest Allin songs of all time.

Bottom line is this- fans of fucked-up and demented 80s' hardcore who haven't heard this stuff are missing out. This is hanging out on the most terrible fringes of hardcore. The height of anti-social art-psychosis and chaos-invocation in the latter half of the 1980s. The Freaks album could sit nicely alongside other albums that I would term "outsider hardcore", in spite of some probable pushback from members of the punk scene. But GG and the Bulge beasts were not interested in working within the parameters of the then-current hardcore scene. This is so much more transgressive, more bizarre, more genuinely deranged and incontrovertibly misanthropic, more dissident and self-destroying in every possible way. Allin himself considered this album to be one of the best of his career. A sodomatic , Dionysian immolation rite, pursuing ultimate physical transcendence in a manner not unlike the Aghori sect. And man, nobody ever came close to hustling the way that GG did. It's a sight and sound to behold. Everyone else was performing theater. This was the real deal.



DEAD MEADOW  Force Form Free  LP   (Blues Funeral)   25.99
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Track Samples:
Sample : The Lure of the Next Peak
Sample : To Let the Time Go By
Sample : Force Form Free


PRIMITIVE KNOT  Undying Lands  CD   (Phage Tapes)   10.99
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DISCORDANCE AXIS  The Inalienable Dreamless (Reissue)  CD   (Willowtip)   14.99
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THEOLOGIAN + BLACK SUN  Black Fire Theology  CDR   (Annihilvs)   8.99
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CULTIC  Whip Seduction (EXTRA LARGE)  SHIRT   (Crucial Blast)   20.00
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Released alongside the skull-stomping new Seducer (Expanded Edition) EP, the Whip Seduction shirt features a stunning, brand-new design by Cultic drummer and acclaimed illustrator Rebecca Magar. This design is exclusive to Crucial Blast, and features what could well be my favorite art from Rebecca / Wailing Wizard to date - for real, I'm possessed by an overwhelming impulse to get this tattooed on my person. Perfectly capturing the sleaze, filth, and carnal violence of Cultic's brand of atavistic, dungeon synth-soaked death metal, it's also one of the coolest designs that we've released over here at C-Blast. This is a highly quality three-color print courtesy of our collaborators at Forest Passage Printing, available on black 100% cotton Gildan garments. GET SEDUCED.

SHIPPING THE WEEK OF FEBRUARY 9TH, 2024.




VRAJITOR’S TENEBRARIUM  E.N.L.D.  CD   (Avantgarde Music)   18.99
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There are certain things that grab my attention when it comes to discovering new bands and artists. I try to pay attention to several outstanding Youtube channels that post amazing demos, and Bandcamp releases from bands I've never heard of. Sometimes, I'll be searching through Metal-Archives.com for research, and I'll end up chasing some killer obscure act from Slovenia down a deep and twisting rabbit-hole. And when I'm working on Discogs, there's stuff that I see that will reach out and grab me by the throat. I'm obsessive about reading the "Style" line in band and release listings on that site. You never know what you might find.

Like a band described as "Prog Rock, Dungeon Synth, Funk Metal.

Alright, you' got me. And thus I stumbled across a band called Vrajitor’s Tenebrarium, a new (I assume) Finnish band with one member, a guy called Lord Vechi Vrăjitor, aka Juuso Peltola, who also plays in the black metal bands Warmoon Lord and Argenthorns. Avantgarde pouts out a lot of wild stuff (the label name is there for a reason), and when I picked up this debut album, covered in gloomy, wizard's castle-style artwork and beautifully designed in six-panel digipak, I couldn't wait to hear this thing. OK, so the whole "funk metal" tag is clearly someone being cheeky, but what it is, is some of the best Goblin / Italian prog-rock inspired mutation I've ever heard. This bizarre band wears its influences on its flowing, wizard-robe sleeves, but adds on a whole new level of groovy weirdness that's really different from the other Goblin-influenced outfits I listen to.

Kissed by gloriously nostalgic synthesizers, the opener "Et Mors Pallida Venebit" unfurls waves of majestic Tangerine Dream-esque electronics, symphonic grandeur, and huge-sounding church organs, all folded together into this striking keyboard-heavy introduction inhabited by a female vocalist that sounds like she wandered in from the Celtic Frost Into the Pandemonium sessions. A short but killer blast of synth-drenched darkwave then leads into the similarly synth-heavy prog rock of "Rubedo", filled with lush acoustic strings and spooky arpeggios that have an odd Fabio Frizzi vibe even as the metallic power chords and booming percussion kicks in. When this really starts to rock, it's fuckin' awesome. "Rubedo" has this distinctly 80's spook-prog vibe that's unmistakable, conjuring memories of both Frizzi and Goblin, as well as the weird gothic prog of Jacula and Devil Doll. The way this stuff is layered together with the crunchy, metallic guitars and driving backbeat is just spot-on, man. It's really not at all what I was expecting at first; it's the best type of surprise. Heavy, funky, pseudo-Italian goodness, where Vrajitor breathes much power and magic into the eleven songs, laying down infectiously catchy hooks and a hard rock backbone alongside all of his spirited weirdness. Some righteous saxophone shows up on "Black Frog" next to delicious woodwinds in the background, more elegant acoustic strings on "Lucus Horribilem Atque Pestilentem" as it erupts into a kind of Blue Oyster Cult-meets-Goblin ecstasy; the album feels mostly instrumental, although those feminine vocals and some echoing, chant-like voices do pop up throughout the album. The keyboards get even more Claudio Simonetti-esque as it winds through the labyrinth of moody progressive rock, heavy, crunching riffs, and soaring dark melody, but Vrajitor succeeds in giving this its own unique character, nimbly avoiding being another retro-Goblin-influenced outfit and producing a full, sensual piece of music that (despite the obvious influences) stands on its own as an incredible and original slab of occult Italo-prog. Those Tardo Pede In Magian Versus-era Jacula and Antonius Rex influences are every bit as prominent as the other stuff as well , especially whenever Vrajitor lays on that heavy liturgical pipe organ. The sounds of bouzouki (again, shades of Goblin's Suspiria) and clarinet spread through many of the tracks. There's some great experimental atonality in a few tracks, particularly the pair of songs that close the album, "Exorcismus" and "Semper Victimas Vult ", which wrap it all up with Gregorian-style chanting and an air of an arcane ritual ceremony. Stunning production, too. This album fills the air around me, with all of its intricacies and nuances. I also can't get over how much sax action is happening here, too - the winding jazzy convulsions of "Volantes Castrum" are one of the best on E.N.L.D., especially when the horn segues into some straight-up heavy metal guitar heroics, killer shredding matched by the wild onslaught of chamber strings, piano and whooshing synth. And it is indeed very "funky", the drumming performance propelling the songs forward into huge, massive grooves, eve sliding into stuff like the quasi-disco delirium of "Sanitarium Son".

It's the ultimate in 70's style "spook-prog", free of any kind of retro-irony. I can't stop listening to this. If you're as into the aforementioned bands as well as stuff like Daemonia, Anima Morte, Morte Macabre, Giallos Flame, and even older stuff like Sacrifice-era Black Widow and Halloween -era Outsider , this seriously gets the highest possible recommendation from me.



SKULLFLOWER  Ponyland  7" VINYL   (Sympathy For The Record Industry)   10.98
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Track Samples:
Sample : Fake Revolt
Sample : Ponyland


WILT  Cold War Cold World (Zeitgeist Movement Vol. 3)  CD   (Phage Tapes)   9.99
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Sounds from just beneath the surface of a world in the process of annihilation. A pre-causal record of seismic activity and ghost tremors from Bikini Atoll. A catalog of thermonuclear indifference and trace echoes from reconnaissance satellites, pulled from secretive CIA remote viewing sessions. A continuation of a series that stretches back all of the way to the year 2000, with the first volume appearing on the much-missed dark ambient label The Rectrix, followed by the second that showed up on Annihilvs in 2006. That stuff is some of my favorite Wilt material ever. And here we are with the third volume materializing in 2022, sixteen years on from the previous, and James P. Keeler's Wilt expands its vision of mid-to-late twentieth-century clandestine Cold War horror so much further than before, trapping you as the listener in a series of consecutive , probably chronological nightmare recordings a la Kyoto Professor Yukiyasu Kamitani, lasered into this disc and then etched into your neural web. Listening to this immense album, everything around me turns black and burnt. The fourteen pieces of near-infrasonic obliteration audio have titles that can easily lead the listener into the bottomless rabbithole of nuclear chess-play and freakish espionage that gripped our planet in decades past, but me, I'm just soaking in the sound for the moment.

And it is bleak. Wilt is never the artist to go to if you're looking for a brighter outlook, but Jesus, he's painting the air here with irradiated charcoal and radioactive ash. And it is, as usual, perversely beautiful work. Cold War doesn't really lend itself to a track-by-track examination; each piece folds into the next to create a contiguous impression of nuclearized, totally depersonalized doom. It moves through you. Deep, endlessly deep cavernous drift spotted with clanking metallic rhythm, jittery heavy machinery moving slowly amid the shifting of pipe structures and titanic slow-motion construction work. Softly burbling synth-drones floating aimlessly around subterranean field recordings and repeating patterns of electrical waveform. Intensely atmospheric and vast-sounding, shifting and skittering noises and impossibly distant rumbling, with amorphous melodic elements phasing in and out of range. A seamless assemblage of subtle low-frequency reverberations and mechanical sound that blurs together into an oceanic mass. The mix is fantastic, with sounds and sonic events separated as to surround you completely. Immersive. Immense. Intricately crafted dark industrial ambience that works with a combo of performance pieces and found sounds, which per the album notes was put together inside two abandoned silos. It feels like you're right in there with 'em. Tape noise manipulations, rattling objects, the subliminal hum of short wave radio sound and fluorescent lighting fixtures. Bits of an actual drum kit transformed into tectonic drift generators. Circuit-bent electronics and Casio synthesizers and samplers chained together into a huge, breathing presence. Some parts of Cold War lull you into a dull haze, sprawling Lustmordian vapors buffeting your senses from every direction, and then suddenly you're sucked into an intake vent with ominous grinding noises, thick electrically-charged energy fields, ice-cold artificial tones that decompose before you, shattered mainframe computer systems gargling out indecipherable code, hypnotic loops of human panic and terror in anticipation of thermonuclear death as the ICBMs prepare for launch, and great flowing currents of blackened sine-wave nerve abuse, bursts of bizarre choral textures, stacked together into something that pushes you into increasingly oppressive, depressing, almost suffocating states of suspension. Gusts of fouled, toxic breath. Ash swirling around shadows burnt into the floor. Crushing isolationist heaviness. Crushing hopelessness. Nothing here has been touched by the sun.

Phage mentions that this experience is considered "Post war cold electronics". I completely agree. One of Keeler's best.



INCANTATION  Tricennial Of Blasphemy (BLOOD RED EDITION)  3 x LP   (Relapse)   39.99
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THEOLOGIAN  A World Of Rain And Failure  CDR   (Annihilvs)   8.99
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ISIS  Oceanic: Remixes / Reinterpretations  2 x LP   (Hydra Head)   23.99
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SLAYER  Issue X (DELUXE HARDCOVER)  BOOK   (Bazillion Points)   14.98
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CHRISTIAN DEATH  Only Theatre Of Pain: 40th Anniversary Edition BOXSET  2 x LP + BOOK BOXSET   (Cult Epics)   130.00
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Holy moley! I've been getting all kinds of killer boxe sets lately, but this recent collector's edition set for Only Theatre Of Pain goes above and beyond. Especially since it's all documenting and showcasing a single album. Granted, that album is one my favorite of all time, and an incredibly influential piece of early deathrock that would influence all manner of bands, not the least of which is Celtic Frost. I mean, this is it, the definitive reissue of Christian Death's pioneering debut, the 40th anniversary edition, packed with all of the music, extras, and sledgehammer of a coffee table book. If you're a fan of Theatre, it's the ultimate.

Here's my old rundown on the album proper:

Considered by most to be the very first American death rock album that would be highly influential on the goth sound that would develop through the 80s, Christian Death's Only Theatre Of Pain is a classic of dark, blasphemous punk that has had a significant impact on so much of the music that I listen to and that I carry here at C-Blast. It's hard to imagine black metal taking form the way it did if Christian Death had never infected the underground punk scene with their subversive anti-Christian imagery, their fascination with death and the occult, and the perpetually dark atmosphere and confrontational attitude that exudes from Only Theatre Of Pain, and the influence of this album on bands as diverse as Sixx, Deathcharge, Nuit Noire and Soror Dolorosa is unmistakable.

Released in 1982, this death punk masterpiece is presented with new artwork and layout as well as the addition of bonus tracks, and it's essential for anyone into the darkest strains of punk and hardcore. Coming out of the Southern California hardcore scene, the band combined Adolescents axeman Rikk Agnew's offbeat guitar playing and the driving rhythm section with bizarre haunted house organ flourishes, tolling bells, and a sickly, dread-filled atmosphere that refuses to let up at any point on the album. But the band's focal point was always their flamboyant front man Rozz Williams, who brought a weird glam influence to Christian Death's morbid punk. His fey whining vocal style was totally unique and perfectly fit the disaffected, negative feel of Christian Death's music, and his bizarre, surrealist lyrics and transgressive visions read like sketches of a nightmare, rife with all kinds of perversion, necrophilia, incest and murder. These themes possess Only Theatre Of Pain from the creepy death obsession of the rocking opener "Cavity - First Communion" to the classic heavy death rock of "Figurative Theatre", "Mysterium Iniquitatis", and "Dream For Mother". There are a couple of slower songs where the band drops into a buzzsaw hardcore dirge ("Spiritual Cramp", "Resurrection - Sixth Communion"), the ghoulish black psychedelia of "Burnt Offerings" and "Prayer", and the serpentine, Middle Eastern-tinged devil vision of "Stairs - Uncertain Journey". If this album would ever have had a single, though, it probably would have been the song "Romeo's Distress", one of the catchiest songs that Christian Death ever wrote, and it feels like it could have been a huge hit for the band, if only the lyrics weren't so politically incorrect (despite the lyrics being explicitly anti-KKK and anti-religious cruelty, themes that would appear throughout other moments in Rozz's tenure in Christian Death).

This new reissue of Only Theatre Of Pain is presented as a double LP, and features two different batches of bonus material for historical posterity. The C-side contains the entire Deathwish 12", albeit with a slightly different track order than the recent reissue of the EP that came out on Cleopatra. Recorded in 1981, these six songs were the very first recordings from Christian Death before the band signed to Frontier to release Only Theatre Of Pain. Most of this had been exclusive to the Deathwish 12" (later released on vinyl by the French label L'Invitation Au Suicide), save for the song "Dogs" which appeared on the 1981 punk compilation Hell Comes To Your House. But the whole EP rips: the heavy, almost metallic-tinged crunch of title track "Deathwish", the trippy synth-laden black dirge "Dogs", the lysergic howling witch-punk of "Desperate Hell", along with rougher early versions of album tracks "Romeo's Distress", "Spiritual Cramp", and "Cavity" that appeared here for the first time. In addition, the D-side of the set has rare recordings of the songs "Sleepwalk" and "Invocation" (both from a 1982 demo), followed by alternate studio versions of the album tracks "Cavity - First Communion" and "Lord's Prayer". It's about as exhaustive a document of the first four years of Christian Death that you're ever going to encounter.

The box set also has a huge 24" by 24" foldout poster of Colver's iconic photo that also appears on the book cover. And then there's the book itself. This is a monster. Hardback and casewrapped, Christian Death: Only Theatre Of Pain - Photography By Edward Colver is one of the coolest books on the early dark hardcore / deathrock / avant-garde movement in Southern California that I have ever held in my hands. It's colossal, 220 pages in square coffee-table book style presentation, black endpapers with minimalist imagery, an overwhelming pictorial and written history of the band that captures all of their strange morbid magick through 1982. Colver totally threw open the vault doors for this collection. The book features an intimate introduction by longtime William's collaborator Nico B. (Cult Epics), facsimiles of handwritten lyric sheets and band notes, an interview with childhood friend Victoria Gray (2020), an interview with early bandmate Jill Emery (Hole, Mazzy Star, Shadow Project, Super Heroines ) (2021), interviews with Asexuals bandmates Steve Darrow ( Hollywood Rose, Sonic Medusa, Super Heroines )and John Albert (Christian Death), both from 2020. An amazing talk with legendary performance artist Ron Athey, an early lover who formed the legendary industrial outfit Premature Ejaculation with Williams; an extensive interview with photographer Edward Colver, in-depth talks with Christian Death drummer George Belanger, bassist James McGeary and guitarist Rikk Agnew (also of Adolescents), all new. Talks with Frontier Records founder Lisa Fancher. An incredible chapter of gloriously profane photography with the band shot by Colver in the Pomona Cemetery in August 1981. A live Colver photo shoot from Little Theatre in September 1981, the first ever show with Agnew. A set at Cuckoo's Nest in Costa Mesa from October '81. Al's Bar in L.A. on October 20th, '81 (alongside 45 Grave, good lord). Witching hours. Pics from the Whiskey a Go Go, November '81, first show they ever played with 45 Grave (Meat Puppets were on the bill as well - can you imagine?); the funeral wreaths on the stage were stolen from a local cemetery. Cathay de Grande, LA, January 1982. A February '82 show at Godzilla's with Bad Religion and Crucifix. So many of these show chapters feature lengthy liner notes from the band members (especially Rikk Agnew) reminiscing on the experience. The Brave Dog show in LA from December '81 with Nervous Gender. Al's Bar (LA again) on December 26th, '81 with Super Heroines. More live photo sets from the Whiskey and Al's Bat from early 1982. Photos and stories of Williams' bedroom and shrine. Reproductions of the L'Invitation Au Suicide record covers. Pages and pages of pics of handwritten lyrics. A photo of Williams' personal library (!). Plus concert flyers out the wazoo, artwork and photos everywhere, all beautifully reproduced for this volume. And the whole shebang is housed in a deluxe heavyweight case-wrapped slipcase.

This is the bible, man. If you worship at the Theatre like me, or just deathrock in general, this is the Good Book, draped in lace, vivid and virile, smeared in blood and mascara, ,lit cigarettes and threadbare silk, raw and alive. Limited to 300 copies.



RAMLEH  Valediction  CD   (Second Layer)   14.99
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Unfortunately now out-of-print as Second Layer seems to have ceased activities, we did dislodge a handful of copies of this 2009 release from Ramleh that came about just as the group was in a state of re-organization after nearly a decade since thweir last album. Instead of picking up where they left off with the monstrous psychedelic noise-rock / tectonic drone-rock that these guys were flattening everybody with in the 90s, Valedictions regressed all the way back to their early 80s activities, emitting a destructive stream of longform power electronics and extreme noise across this six-part saga.

Valediction is presented in six parts, each one a variation of Mundy and Di Franco's colossal maelstrom generated from synthesizers, electronic effects, and distorted vocals, with bass and guitar appearing infrequently. The vast majority of this is a thunderous blast of psychedelic power electronics, raging multi-tracked vocals that shout and mumble and roar amidst a cacophony of beyond-blown-out distortion, rumbling bass frequencies, searing high-end synth chaos, and what sounds like utterly berserk guitar shredding (but which is primarily created using synth). It's fuckin' extreme, from the trippy cosmic storm and wall-noise power of "I" and the mangled, effects-splattered intensity of "II" to the subsequent skull-blowing blasts of lysergic electronics, violent sweeping frequency shifts, gargantuan distorted drones, torturous amplifier feedback modulations, and commanding shouted voices that dominate the middle of the disc. It feels like a particularly violent throwback from the two artists, updating their earlier sonic assault with a thicker production and inpenetrably grim atmopshere. But then deeper into it you begin to get bulldozed by Di Franco's monstrously distorted ur-riff on the bass, simple lu8mbering two-note dirge crawling beneath the avalanche waves of skree and rumble and hiss and howl, like the titanic gonked-out psychsludge mass of "III", goddamn crushing shit as it builds in size and intensity..."drone-metal" levels of heaviness here and elsewhere on the disc, massive metallic crush buffeteed by plumes of nauseating high-end feedback and manipulated sinewaves and histrionic proclamations from Mundy.

The final track hints at the band's history with heavy-as-hell psych/noise rock, and "VI" stands out as a weird nod towards that period, dropping a grinding two-chord riff and roughly sung (and largely understandeable) vocals into the cyclonic noise , a bludgeoning Stooges-esque hook swamped in shortwave detritus and corrosive distortion and cosmic radiation; after listening to Valediction a few times, I've really fallen in love with this as the closing song, it's warped and memorable, an almost sing-along lyrical hook surfacing for a bit before things go completely nuclear.

It's set up to roll out as a single album-length piece even while tracks dissolve in and out, with a continuous bleak vibe that stretches from begining to end, a pervasive post-apocalyptic dread emitting from all corners, easily overwhelming you with the density of all of their noise blasting skyward

not without a semblance of structure

It's definitely a distinct different beast than their next album Circular Time, where the band would unfold into their hypnotic psych-rock obliteration mode once again, the other side of the coin that is Ramleh, but possessing a dark blotter-chewing immensity and deafening power that sticks out from the rest of their "power electronics" era.


Track Samples:
Sample : Valediction VI
Sample : Valediction III
Sample : Valediction I


MURDEROUS VISION  Times Without Gods  CD   (Live Bait)   12.99
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The newest dose of extremely dark ambient from Murderous Vision. 9 tracks of visionary drift. Stephen Petrus has been a crucial component of the American dark ambient scene for years. This landmark album

resonates with emotional depth, anchored by dynamic shifts between melody and discordance. Softly drifting drones shimmer above subtle low-frequency grinding. Incredible production, evocatively package...a must for fans of dark droneworks and post-industrial ambience.



BELL WITCH  Four Phantoms  CD   (Profound Lore)   13.98
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Back in stock.

Seattle funeral doom duo Bell Witch aren't the first band of this ilk to carry with them shades and echoes of the elegiac slowcore of classic bands like Codeine, but by god their one of the best. A two-piece made up of just drums and six-string bass guitar from members of Samothrace and Sod Hauler, Bell Witch nevertheless succeed in crafting a massive sound on their second album Four Phantoms, which has been getting lots of love from devotees of metallic misery, and for good reason - these four songs (all naturally sprawling out for anywhere from ten to twenty three minutes in length, every one an epic) sprawl out into panoramic sadness, the band expertly welding their blasts of crushing glacial heaviness and crawling, time-stopping tempos to passages of achingly beautiful melody, far prettier and more fragile than what you usually hear out of bands playing stuff this agonizingly slow.

But man, those weary, stentorian riffs that tower over the album are as spiritually pulverizing as you could hope for, slow-motion blooms of rumbling, crashing dirge surrounded by guitar leads that have a similar almost synthlike vibe as Finnish gloomdoom gods Skepticism. The songs often disappear into thick fogbanks of liturgical darkness as the drums melt away and the vocals shift from that monstrous lamentation into plaintive, chantlike tones, and on "Suffocation, A Drowning", the band is joined once again by Erik Moggridge of neofolk outfit Aerial Ruin on vocals, lending his pensive voice to one of the album's more solemn, subdued moments that slowly builds into a titanic key change that gives birth to an awesome gloompop hook buried beneath the speaker-rattling low end and soporific pace. The sound is so harmonically full, I had completely forgotten that there were no fuckin' guitars on this album until well after the album was over. Immense and beautiful in its bleak, ashen majesty, and with more complex songcraft than their previous work, Phantoms is easily one of the best doom albums that's come out so far this year, those melodious, sometimes harmonized vocals giving this a warmth and humanity not often seen in funeral doom, without sacrificing that oppressive, deathly atmosphere and utterly forlorn feeling of existential despair that marks the best funeral doom, a quality that puts this album in league with other masters of the form like Pallbearer and Asunder. Comes in digipack packaging featuring superb impressionistic artwork from Paolo Girardi.


Track Samples:
Sample : BELL WITCH-Four Phantoms
Sample : BELL WITCH-Four Phantoms
Sample : BELL WITCH-Four Phantoms


GRIEF  Dismal  CD   (Fuck Yoga)   14.99
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GRAVESIDESERVICE  Masters In Lunacy (Reissue)  CD   (Church of the Immaculate Deception)   9.99
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CELTIC FROST  To Mega Therion (Deluxe Reissue)  2 x LP   (Noise)   39.99
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COCK E.S.P.  Historia De La Musica Cock  CD   (Little Mafia)   9.98
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Track Samples:
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock
Sample : COCK E.S.P.-Historia De La Musica Cock


MERZBOW  Tauromachine (2023 Reissue)  2 x CD   (Relapse)   14.99
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AUROCH  Mute Books  LP   (Profound Lore)   23.98
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Track Samples:
Sample : Tipharethagirion
Sample : Say Nothing
Sample : Cup Of Hemlock


BAND, RICHARD  Troll (Original Soundtrack)  CD   (We Release Whatever The Fuck We Want)   17.99
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VARIOUS ARTISTS  Leper Creativity: Cyclonopedia Symposium  BOOK (TRADE PAPERBACK)   (Punctum Books)   23.00
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SIMONETTI, CLAUDIO  Vendetta Dal Futuro (Hands Of Steel OST) (SILVER VINYL)  LP   (Rustblade)   33.00
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BLOOD FARMERS  Headless Eyes  LP   (Patac Records)   21.98
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Back in stock. Definitely not in a rush to get their albums out, Headless Eyes is only the second album to come from the New York doom metal outfit Blood Farmers, who have been slogging around since around 1989. The last time we heard these guys, it was their cult 1995 album that came out on the legendary Hellhound Records, the label that was home to some of the best underground doom of the late 80s/early 90s including Saint Vitus, Count Raven and a host of Maryland outfits like The Obsessed, Internal Void, Unorthodox, and Revelation. Blood Farmers stuck out amongst this esteemed company with a dirtier, darker vibe, heavily steeped in the imagery and aesthetics of classic horror and exploitation cinema, which makes since seeing how band leader Dave Szulkin is one of the guys behind Grindhouse Releasing (Cannibal Holocaust, The Beyond, Gone with the Pope). And thanks to their grittier, heavier sound, their music has aged a bit better than many of their peers, devoid of the grungy qualities that some of those early 90s doom metal bands shared. Now featuring former Toxik drummer Tad Leger on the skins, Blood Farmers unleash one hell of a crushing psychdoom onslaught here on Headless Eyes (the title taken from Kent Bateman's 1971 psycho-sexual sleazefest), obviously beholden to the seminal slow-mo metal of Black Sabbath and the later dark heaviness of bands like Saint Vitus and Trouble, but they bury their bilious boogie beneath a thick layer of murk and bone-rattling sludge and grindhouse sleaze. Guitarist Szulkin unleashes a gnarly tone with his menacing, miserable riffs, and singer/bassist Eli Brown flattens everything beneath the lumbering grooves that he carves out alongside Leger's sauropod tempos.

The songs frequently drift into a hazy psychedelia, shifting from the sludgy, sinister doom into languid acid guitar and watery, FX-addled singing that wind through the more subdued moments of songs like the title track, and the band also effectively incorporates fragments of film dialogue and other samples from 60's and 70's era horror films, layering these elements to dramatic effect during some of those trippy passages to lead up to when the band crashes back in with their massive heaviness. They also kick things into faster, more furious form with brief eruptions of garagy, wah-drenched mayhem, and unfurl some killer harmonized leads like that which soars over the spacey darkness of "The Creeper", an entirely instrumental song of eerie psychedelia. Then there's the nocturnal lysergic rush of "Night Of The Sorcerers", a ten minute epic that kicks off with some almost raga-like guitar before shifting into a sinister melody with sweeping synthesizer accompaniment, like some trippy take on 80's style horror soundtrack music filtered through a wicked space rock filter and gobs of monstrous glacial heaviness, dragging their sky-streaking instrumental jam into a punishing groovy. And it ends with a stunning cover of "The Road Leads To Nowhere" from legendary cinematic beast David Hess, which most probably recognize from the score to Wes Craven's notorious early shocker The Last House On The Left; at first it sounds as if the band is going to do a straight acoustic version of the song, but when they all crash in, transforming it into a haunting doom metal epic, it's just fuckin' KILLER. These guys had a lot in common with what was going on down in Maryland during the early 90s, which makes it perfectly natural that Hellhound would have worked with Blood Farmers on their first album. But that early stuff and this new album all deliver a grittier, grislier (not to mention flat out heavier) take on that sound that has aged much better than a lot of traditional doom from that era - listening to the sheer crushing weight of these songs, and it's easy to see why Szulkin was recently tapped to play on the new album from Japanese doomlords Church Of Misery.



COWS  Daddy Has A Tail (YELLOW VINYL)  LP   (Amphetamine Reptile)   19.98
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Track Samples:
Sample : Sugar
Sample : Chow
Sample : Shaking


ELDER  Spires Burn / Release (Magenta / Blue Starburst)  LP   (Armageddon)   17.99
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A new 2017 repress, on magenta and blue starburst vinyl.

Elder's latest slab of swirling downbeat metal follows up their Dead Roots Stirring album with a two-song ascent into more atmospheric territory. Released on vinyl only, the record begins with "Spires Burn", a slow-burning epic with all of the ingredients that make Elder one of the best current doom bands here in the States: those clear, powerful vocals that mesh perfectly with the soaring psychedelic leads and triumphant riffage so imbued with an aura of classic heavy metal; the sudden pitches into seriously-dark Sabbathian creep that the band contrasts with their slightly sunnier, more fist-raising anthemic moments; the swirling space-rock effects that come sweeping over the burning towers and scorched wastelands alluded to in the lyrics; and of course, the absolutely crushing riffage that evokes the meditative bulldozer crush of Sleep. And this song is some of the most rocking stuff I've ever heard from these guys, with some moves into grungy, shoegazy textures toward the end that sort of reminds me of a much heavier Smashing Pumpkins riff.

Then there's the beginning to the second side, where "Release" opens up with an amazing melodic intro that's all cascading clean guitars and dreamy, chiming melody - its goddamn fantastic. This swirling melody works its way into the main part of the song as the whole band locks into this killer Kyuss-esque psych-crush that's equal parts soaring, occult-tinged rock and pulverizing Sabbathian low-end, the guitars spinning out these killer melodic leads later in the song that fall somewhere between Josh Homme and J. Mascis. Elder have never sounded so accessible as they do here, but it's simply based on the strength of the songwriting, definitely a big step up from their debut album. The doom is still in here, its just skillfully contrasted with a dark jangly rock sound that comes together just about perfectly on this record. One of the best new doom releases for 2012 alongside the new Pallbearer album.



VOIVOD  Forgotten In Space  5 x CD   (Noise)   51.00
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BOHREN & DER CLUB OF GORE  Geisterfaust  2 x LP   (PIAS Recordings)   28.98
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FIRE  Issue 3  MAGAZINE   (Fire)   14.98
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NOISE  Demo Tapes 1991-1995  LP   (SPHC)   13.98
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FIVE DOLLAR PRIEST  The New York Post-Punk / Noise Series: VOL III  DVD   (Robellion)   14.99
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CYBER-PSYCHOS A.O.D.  Issue 5  MAGAZINE   (CyberPsychos AOD Publishing)   6.00
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ZONAL  Wrecked  CD   (Relapse)   12.98
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GREAT KAT, THE  Extreme Guitar Shred  DVD   (TPR Music)   11.99
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FUDGE TUNNEL  The Complicated Futility Of Ignorance  CASSETTE   (Earache)   8.99
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ADYTUM / DARKNESS ENSHROUDED THE MIST  The Realm Of Rats And Pestilence  7" VINYL   (Larval Productions)   6.50
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Seemingly now-dormant Larval Productions is just a stone's throw down the road from me, but I had no idea about the label until it cranked out that utterly psychedelic bestial brain-blurr from Jyotiṣavedāṅga in 2018. Then I was hooked. I got my hands on everything I could, including this meeting between two of the UK and Dutch black metal underground's more deliberately obscure outfits, issued in a limited run of two hundred. It kills. The fetid glue that seems to pull this split together is that both bands would appear to share a reverence for the low-fi, fucked-up, anti-human aesthetics of Les Légions Noires scene outta France, and I'm always game for some LLN appreciation. With two songs from each band, The Realm Of Rats And Pestilence spills out of the speakers like a pile of offal and ancient grave dirt.

Sounding freshly unearthed, Adytum is pure raw black metal primitivism, spitting out "Beneath The Ruins" and "Pestilence" in wonderfully harsh and stumbling bursts of lopsided aggression and shrieking hatefulness. I love this band. Simple, back-and-forth punk-style drumming moves at loping tempos while the guitar is throttled into a heap of broken riffs, off-kilter melodies, weird stops and starts - oh man, and it's so bathed in hiss and room ambience that it feels like I'm right there in the crypt (or practice space, or whatever). Borderline "outsider" black metal, played with unabashed degenerate glee, the reverb-cloaked howls spewing visions of death-worship and curses and plagues, everything shifting between that hammering punk-like barbarism and the weirder, off-time chugging riffs and melodies. And then there's that total hard rockin' guitar solo stealing through the night at the end of "Pestilence"? It's legit shit, and hits the same nerve spot for me as do bands like Xeukatre, Vetala, early Black Cilice, and the Legion Blotan at large.

Similarly gonked-out are Darkness Enshrouded The Mist, a Dutch one-man band (I think) that hammers you with a slower, more deliberate strain of black metal, still on the stripped-down and primitive side, with mid-tempo minor-key riffs blended with subtle dissonance, but like their vinyl-mates in Adytum, there are these parts in "A Realm Of Rats" and "Blood & Decay" where the musicality starts to fray at the edges, the riffs coming out slightly awkward, which for me just adds to the clandestine vibe of this stuff. With that first siong, it's nearly as punk-warped as Adytum, rooted in an identifiable early 90's mode; however, that second song makes a hard left into spooksville, "Decay" immediately floating up in a wave of ectoplasmic murk, everything melting at the edges ass this blurry, bleary blackened noise-drone rides out the rest of the EP, barely obscuring the voices of worship that drift beneath the surface - teasing at something almost Moevot-esque as it eases into distant silence...

Dig in.


Track Samples:
Sample : A Realm Of Rats
Sample : A Realm Of Rats


SUNLESS  Ylem  CASSETTE   (Willowtip)   11.99
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CROWLEY, ALEISTER  Poems And Invocations  CASSETTE   (TPOS)   7.99
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There have been a gajillion different versions of the collected wax cylinder recordings and acetates of the Great Beast (purportedly recorded between 1910 and 1914) since the 1970s that originally were recorded all the way back in 1920 as The Great Beast Speaks. These editions really started popping up on underground industrial/occult labels in the 1980s cassette culture, with versions put together by Thee Temple Ov Psychick Youth and Incubator, and the oft-sourced LP edition on Goetia from 1986 (titled The Hastings Archives / The World As Power) being the first real complete vinyl release of these recordings (it was soon followed by another "bootleg" LP simply titled Aleister Crowley which included liner notes from Current 93's David Tibet - I've been looking for just a facsimile of those for years). And the terrific weirdo-culture label TPOS jumped into the fray as well, producing this cassette version of Crowley's famed spoken-word recordings in 1990 that has remained in print ever since, as far as i can tell. The specific track list and order on Poems And Invocations is exactly the same as the Goetia LP, so I suspect that these recordings were pulled from there, especially since the sound quality on Invocations is better than most of the other Crowley tapes that I've heard. I dig how TPOS made a point to delineate the ritual recordings from Crowley's poetry readings, with the former on the A-side and the latter on the back. Keeping these two different sessions slightly separated enhances the listening experience, at least for me.

I'm not concerned with the debates surrounding Crowley's delivery of the legendary Enochian Calls and whether or not his pronunciations were correct - I'm just glad that I can hear the man doing his thing. For anyone interested in early 20th century magick, Thelema, Golden Dawn, etc., the four tracks are fascinating to listen to. Crowley invokes "The Call Of The First Aethyr " and "The Call Of The Second Aethyr ", each one first attempted in the original Enochian text, then followed by his reading of the English translation. Obviously the fidelity on these ritual recordings are primitive and murky at best; the century-old technology used to record this work immediately left a patina of great age and aural obfuscation on the material; I've noticed that the recordings posted online have attracted some small following of ASMR fans who respond to the crackling, dust-caked, distant feel of the recording, the air filled with scratches of time and wear on crumbling grooves. That newfound aspect of this just makes everything around these Crowley recordings even weirder, as they find their way into the digital age.

The poetry featured on side two is of greater interest to me, actually. I'm a huge fan of his pornographic, scatological verse collected in his book White Stains; there are lines in there that black metal lyricists would have killed to come up with. The poetry recording is made up of ten individual spoken pieces, and as is the case with his written verse, the quality can vary. Pieces like the heartsick paean to love "La Gitana" and the flowing dreamstate of "At Sea" can somewhat resemble the surrealist visions of Breton, though not quite reaching the same ecstatic heights; also unusual is the declaratory meter of "The Pentagram", the bawdy tribute to whoredom "One Sovereign For Woman", the weird warnings of "Fingernails", and "Excerpts From The Gnostic Mass", which drifts off from your speakers like a homily, strange and profane. Lesser works like the self-referential "The Poet", his eulogy to "The Titanic", and the celebratory cadence of "Hymn to the American People on the Anniversary of Their Independence" are still important to hear, even if just as a historical piece. But the weirdest of all of this stuff is the song "Viva La France" at the very end, which Crowley belts out alongside piano accompaniment - it's a fittingly perverse and unexpected burst of jocularity from the guy, who here hardly sounds like the great degenerate and icon of "evil" of his era. I love it. I really get the impression from some of these readings that Crowley was a romantic at heart.

Alongside Austin Osman Spare, there's no arguing that Aleister Crowley really was the most notorious and influential occultist of the 20th century, and he lives still, his voice a spirit revived from ancient pieces of wax and aluminum.



MOTHER OF SIGHS  self-titled  CASSETTE   (Anathemata Editions)   11.99
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Another great musical project from the husband and wife duo of Terence Hannum (Locrian / Axebreaker) and Erica Burgner-Hannum (Unlucky Atlas), here working as a stripped-out duo compared to the full band setup of their amazing dream-pop/post-punk outfit The Holy Circle. With their eponymous debut as Mother Of Sighs, the duo pay homage to the era of horror film soundtracks that produced their name (their moniker is a reference to the classic 1977 Argento film Suspiria and incoporate elements of the grim post-industrial dronescaping Terence crafts with Locrian, heavy doses of carcinogenic noise, and sweeping nocturnal synthesizers that merge together into something grand and terrible. Murky eletronics melt together into sinister forms as primal drum machine rhythms thud deep in the mix, the high end cut out of the mix as opener "Black Bile" spills out into a brackish, bleary stream of gothic drone, stacked keys and pipe organ-style tones swirling into simple and chilling melodies while tortured screams issue out of the distant blackness. Definitely aims and hits a high score on the creep-o-meter, avoiding rote "retro" synthesizier stylings for something much more abstract and suffocating. It's really more like the sort of blackened industrial that ANNIHILVS seems to specialize in. But then things take turns for the morose as stuff like "Claustrum" weaves in those ethereal vocals from Erica amid a mellowed-out groove that sounds like something on 4AD circa 1988 on a bad trip. Multi-tracked singing and spare beats and beautiful, bleak melodic structures form out of the amorphous shadows, leading to the heavier synth-driven doomwave of "Anxia Corda" , which is positioned in the middle of the EP perfectly; each piece of music has evolved to this point, materializing as a dark pulsating dream that seeps into your awareness. That feeling of gothic grandeur reappears as "Ourself Behind Ourself" drifts in over your head, and again we're descended into a strange but intensely emotional deathpop mutation, billowing minor key chords and incandescent church organ drones winding around those lovely vocals.

That pair of songs make up some of the best music I've heard these folks put together, summoning a certain level of nostalgic bliss from old darkwave and synth scores but warping it gradually into something more malefic; when that other half-chanted processed voice appears over the end of the former song, it's pretty unnerving, just as it is when those narcoleptic ululuations drop like heavy black clouds into the abyss with the latter. The way that the tape swaddles these blissed-out pieces amid the opening driftscapes and the lengthy midnight ether of closer "Dysthymia" is handled almost perfectly, balancing the pure ambience of those haunting electronic fields with oh-too-brief passages of languid melancholy...man, it's lovely stuff, even as it all makes your hair stabnd on end.


Track Samples:
Sample : Dysthymia
Sample : Anxia Corda
Sample : Black Bile


TORTURING NURSE  Recycled Music Series  CASSETTE   (RRRecords)   4.99
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LYSERGIC  Void Dissociation  CASSETTE   (Crucial Blast)   8.00
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Here is another recent debut that immediately chewed my face off upon first contact. Coming from the fertile war-metal grounds of Alberta, Canada, the band Lysergic suddenly crashed into our reality at the beginning of May 2023 with this three-song blast of freakish, psychotronic black / death metal. The band remains anonymous but has tendrils digging into the Calgary metal underground. More importantly, this outfit delivers something I've been waiting for, a sound that channels the exact mental and emotional state I arrive at whenever I listen to stuff like Conqueror, Black Witchery or Revenge after shotgunning two bottles of cough syrup. For years, I've been waiting for this. And Lysergic brings it. Made up of three explosive tracks ( "Erratic Noose Departure", "Maggot Crown Usurper", "Throne Annihilation" ), the EP detonates eruptions of convulsive and hallucinatory war-blast that slips in and out of dimensional phase, merging a sulfuric whirlwind of barbaric riffs, hammering drum-machine generated tempos, electronic derangement, and foul vocal emanations with a fractured and downright psychedelic quality befitting its name. There is no lessening of the core brutality behind this specific sound; this shit is ferocious, a roiling mass of air-raid siren horror, raw and relentless blastbeat drumming, primitive chainsaw guitar, all glomming together with sickening, echoing snarls and moments of unmistakable Conqueror-worship. But this carnivorous blast-attack spins out of control pretty fast, those inhuman, reptilian vocals getting tangled and knotted in crazed amounts of delay and reverb, emitting a hallucinatory, tracer-like aural effect, joined in with what fast turns into a phantasmagoria of noxious electronic skree, over-the-top guitar noise, grinding loops of distant voices and sculpted feedback, the spaces between songs filling up with cacophonic, monstrous sound deformation. And when the tempo eventually shifts into a slower, sludgy muck, it all leads this tape into a foul final crush of collapsing sonic structures. It's fucked up.

This kind of trippy, noise-damaged war-metal mutation has been worming out of the rotten woodwork in recent years, and man, I can't get enough of it. Lysergic dive a little deeper into straight-up electronic noise and loop-abuse than many of its peers, but like I mentioned, these songs never stray from that signature black/death sound, stripping it down to its most atavistic fundamentals, the riffs and drums locking into a droning hypnosis, but then splattering all of it with a chain of wrecked FX pedals, barbed metallic feedback manipulations, and piercing high-frequency sound-waves. A twelve-minute scream from the edges of churning black chaos: Dimethyltriptykon Uprise. Final Rope Reprieve.

Harsh stuff. If you've been prowling around the more grotesque edges of the "bestial" field in recent years, you've likely tapped in to some like-minded aberrations that push the limits of coherence and musicality; to my ears, this violent filth comes howling out of an adjacent DMT-damaged deathzone to the one that's populated by bands like Sect Pig, Methgoat, Nuclearhammer, Kapala, and Human Agony.

This cassette edition of Void Dissociation comes on purple cassette with full color artwork; the multi-panel sleeve includes the complete lyrics for the release.


Track Samples:
Sample : Erratic Noose Departure
Sample : Maggot Crown Usurper
Sample : Throne Annihilation


LORD KAOS  Thorns Of Impurity  2 x LP   (Nuclear War Now! Productions)   32.00
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ALLIN, GG  Freaks, Faggots, Drunks & Junkies (2022 SHIT MIX VINYL)  LP   (Awareness)   19.99
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Now also available in a limited-edition 2022 "shit mix” colored vinyl edition for all of you distinguished aesthetes out there.

In 2016 year of our lord, it's almost unfathomable that this rare beast could have once stalked the face of the earth. But when I need a real social palette cleanser, I turn to the late 80s GG Allin stuff. And this motherfucker is top of the pile, one of the filth-king's rattiest and nastiest albums. The fifth album from Allin and originally released on Gerard Cosloy's Homestead Records, Freaks captures the beast during my favorite period of his career: with this particular expression of his monstrous Id, Allin enlisted the talents of Bulge, who otherwise belched out a couple of rippin' thrashcore releases on Ax/ction and Fudgeworthy in the early 90s, and who featured members of Gonkulator, Jesus Chrust, and Psycho. Bulge's drummer Charlie Infection had already previously worked with Allin by including the song "I Wanna Suck Your Cunt" on the Welcome To Ax/ction Island compilation. Bulge was a relatively tighter, more "stable" band compared to Allin's previous backing group, so the team-up made sense.

That said, this album is a warzone: a pitch-shifted GG lays down the law with the spoken word intro "My Revenge", then throws us headfirst into a nineteen-song orgy of drug-damaged blues riffs and monstrously fucked-up hardcore punk. His vocals sound totally scorched here, like the man has been swilling gasoline in between vocal takes. "Be My Fuckin Whore"' offers a litany of degradation and misogynistic abuse set to primitive hardcore, with some almost Greg Ginn-level guitar warp going on when it rips into a solo, followed by the thirty-second noisecore-esque blast-chaos of "Suck My Ass It Smells". "Dog Shit" delivers what is possibly my favorite line from the guy, "...Get the fuck outta my bread line...", and that general mean-spirited, ragged hardcore attack makes up the bulk of Freaks.

Other scorchers include sickoid mid-tempo rippers like "Anti Social Masterbator" (sic)and "Last In Line For The Gang Bang" that collectively climb right into your head and won't leave. You've got a nod to David Allan Coe via "Outlaw Scumfuc". And with the messed-up and overtly brain-damaged moments like the lumbering, tuneless skull-beating on "Wild Riding" and "Crash & Burn" , Allin and crew puke up a kind of Flipper / Kilslug / Black Flag-style scum-dirge that's swarming with gruesome guitar skronk, grating atonal synthesizer, go-nowhere sludgepunk riffing, and some of the more unsettling and orgasmic vocals we've heard from Allin. Goddamn awesome stuff. The closer "My Bloody Mutilation" is a drawn-out, industrial nightmare, a fog of clanking, metallic atonality and tortured invective screams, raving madness set to a oily black shimmer of deformed ambience, almost Abruptum-like in it's sheer abject hideousness. But if I had to give you just one reason to pick up this atrocity, it's the song "Die When You Die" (actually itself a sort-of cover of Destroy All Monsters's proto-punk classic "You're Gonna Die" ), a perfectly formed piece of anti-social, anti-human punk rock that has gone on to be covered by countless punk and black metal bands in the decades since. It's one of the greatest Allin songs of all time.

Bottom line is this- fans of fucked-up and demented 80s' hardcore who haven't heard this stuff are missing out. This is hanging out on the most terrible fringes of hardcore. The height of anti-social art-psychosis and chaos-invocation in the latter half of the 1980s. The Freaks album could sit nicely alongside other albums that I would term "outsider hardcore", in spite of some probable pushback from members of the punk scene. But GG and the Bulge beasts were not interested in working within the parameters of the then-current hardcore scene. This is so much more transgressive, more bizarre, more genuinely deranged and incontrovertibly misanthropic, more dissident and self-destroying in every possible way. Allin himself considered this album to be one of the best of his career. A sodomatic , Dionysian immolation rite, pursuing ultimate physical transcendence in a manner not unlike the Aghori sect. And man, nobody ever came close to hustling the way that GG did. It's a sight and sound to behold. Everyone else was performing theater. This was the real deal.



HYPER-ANNOTATION  001  BOOK   (PostHuman Magazine)   19.99
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SAVAGE REPUBLIC  Tragic Figures: 40th Anniversary Expanded Edition  2 x CD   (Real Gone Music)   19.99
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Colossal 2022 reissue

The LP is available on red vinyl in a pressing of 2000 copies, packaged in a particularly striking gatefold jacket.

Hailing from a window of time in the 1980s when bands, partuclarly American ones, were taking the influence of paradigm-shifting post-punk like Public Image Ltd., Joy Division, Wire and Gang Of Four into more harrowing, aggressive, abject dimensions, the earliest Savage Republic music is dark and mesmeric and harsh on their debut album Tragic Figures from 1982. Along with the influence of the screeching atonality and anti-social skronk of the NYC No Wave crowd, this music also leeched some of the primal percussive power and dystopic deliria of the burgeoning post-industrial music scene, and found Savage Republic (for awhile at least) creating an abrasive clamor and more menacing attitude that would get comparisons, then and now, to other early 80s street-beaters like Swans and Big Black. I ended up discovering Savage Republic way later in life, which is aggravating; if I had heard this in my teens when I was utterly obsessed with Swans and the early proto-noise rock underground, Tragic Figures would've been rumbling out of my bedroom at all hours of day and night. When I finally had someone shove this record under my nose several years ago, it was kinda revelatory. This stuff was heavy, not in the metallic sense of course, but heavy in mood and 'tude, more aggressive and acerbi9c than what I might have expected to hear.

That cover image of Iranian military forces executing Kurdish rebels in 1979

On the first side, the music is tilted towards more of an instrumental breakout - the metal-on-metal percussive frenzy comes on strong as opener "When All Else Fails" bursts forth like a crazed protest assault, an array of rattling, stomping, clanking rhythms laid over each other while heavy bass and chugging distorted guitar grind out simple, sludgy, skull-mashing riffs. That wild rebeliious energy burns brightly throughout the album, from the aggressive tribal beats and menacing two-chord muck-punk of "Attempted Coup : Madagascar Percussion", the winding spiky guitar and multi-level polyrhtyms that energize "The Ivory Coast" as it rumbles and shakes, those sinister No Wave influences merging with that relentless syncopated drive on "Next To Nothing", on to the clanking industrial drone rock raga of the back-to-back "Exodus" and "Machinery" (whose pissed-off hardcore punk-style vocal delivery summons vivid visions of our slow moving apocalypse), te super-short ritual loop "Zulu Zulu ", that crumbling mass of distortion, gnarly bass riffage, and burgeoning violence that underscores the satirical "Real Men". This stuff gets even more unnerving towards the end as anguished shrieks ring out over "Flesh That Walks"'s feral racket and cannibal manifestos. "Kill The Fascists!" is a pretty straightfoward junkyard symphony (recorded in the underground tunnels beneath UCLA) that speaks pretty clearly for itself, but it all drifts into oblivion when closer "Procession" disassembles the band's sounds into a hypnotizing haze..

It's all quite noisy and abrasive, paerticularly from the guitar, whose peformance delivers a tetanus-infected shock of slashing droning strings, burly and bass-heavy slow-motion power chord dirges, gusts of atonal skree, and some straight-up brain damaged shredding that takes me to some kind of malfunctioning nirvana state.

- this is clearly the stuff that critic Robert Christgau was talking about in his old review of the album where he described Tragic as resembling "Flipper doing Afropop originals?".

Obviously fans of the more abject and twisted end of experimental sludge-punk are going to find some real meta to chew on here, if there was anything even close to a modern analogue to Savage Republic's early urban-conflict wardance it might be that Billy Bao stuff; there's no way that those guys weren't luistening to this stuff on repeat.

The other disc pulls all of the pre-Savage Republic recordings together, from when the group called themselves Africa Corps and recorded their music in UCLA area parking garages. And man, this stuff is great! Most of these tracks have never before been released; the majority of these songs were carried over onto the Savage debut ("Attempted Coup : Madagascar", "When All Else Fails", "Real Men", etc.), but here they sound even more immediate and cacophonic, record live together in a group frenzy, all of the heavy sludge-punk riffs even grungier and filthier here, the guitar's barbed-wire post-punk/No Wave-influenced raga-like drones and sharp biting chords and angry discordant scrapes pushed further up in the mix. There is so much clank and glass and pipe-banging mixed up with the trance-inducing drumming that it sweeps over your senses, random yelling and raging and howling in the background behind the main vocalist (momentarily reminding me of the most aggro moments from Cro-Magnon), with these general feeling of hysteria and anxiety and flailing hostility being unleashed.

Some of these songs only appear here, like the fleeting junk-freakout "The Vampire Bites ", the severely bizarre experimental tape-music spewed across "Next To Nothing Weirdness", and amazing ectatsic freeform explosions like "Thee Three Preserves" and "Sliding Into Arabia" with their imposing, crudely formed melodies informed by Middle Eastern scales

the eleven minute version of "Procession (Into The Light)" is completely mesmerizing, just an endless tribal rhythm delivered to a state of __________________

and the burlier, murkier version of "Exodus" that whips up a spectacular drone-rock mantra

I think that the "Tragic Figures" recordings of all of this are superior in the end, but hearing the musicians working out their ideas and attack together sounds great on this preface recording, definitely a recommended listen for fans of what the band would quickly evolve into


Track Samples:
Sample : Flesh That Walks
Sample : Machinery
Sample : Attempted Coup: Madagascar


DISCORDANCE AXIS  The Inalienable Dreamless (Reissue)  LP + 7"   (Willowtip)   31.00
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BOREDOM KNIFE  Stalker  CASSETTE   (Crucial Blast)   9.00
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Finnish musician Marko Neuman has been busy as hell lately. I'd been following his work previously via the assorted high-grade bands he has been in (Dark Buddha Rising, Overdose Support, Sum Of R, Ural Umbo, Waste Of Space Orchestra). But until very recently, I hadn't heard his noise project Boredom Knife. It made an impact on me, though. Checking out previous releases like the split with Crepuscular Entity ‎on Basement Corner Emissions or the Your Pain Is Getting Worse tape on Bent Window introduced me to a cruel, cold strain of harsh noise, a form of deep-field black static, flecked with elements of power electronics and K2-style junk-avalanche. I was already getting deep into it when Neuman sent me his latest recording, Stalker.

This twenty-three-minute release pairs two corresponding pieces, "Envy" and "Snap", the first a long and winding chaos-channel into the doom-laden intensity of the second. The atmosphere around this release is felt in the cold stare, the mindless gaze, and the resulting vortex of emotional destruction that was written in the postures of celestial forms long before the final act of exterminating envy and dominance occurred. Lines cut through the star-map of lethal obsession. The predetermined hunt.

Boredom Knife's Stalker emits a cold, piercing gaze instantly, the first side "Envy" churning out a dense wall of hollowed-out drones, black static, bursts of corrosive hiss, and strange pulse-like rhythms buried deep within the core of this ghostly noisescape. While there's much to digest here for enthusiasts of the "wall", Neuman produces something much more complex and dramatic. Feedback and speaker-rumble are carefully probed and manipulated, vicious high frequency noise expressed through rivers of metallic skree that are easy to drown in. That first track gradually and deliberately evolves from the mechanical whirr, junk-style clatter, and mangled (but weirdly melodious) carnage at the beginning, morphing into a steady field of layered screech and endless hum, sharpened metal scrape and clusters of bizarre, almost subliminal gurgling that continue to resurface throughout the track. It conjures a hypnotic, possibly psychedelic state of sonic overwhelm, each layer of cruel noise obsessively carved and sculpted into a latter half of near-complete roar, before it finally circles back to a final stretch of rhythmic squelch, immutable drone, and hideous shattered distortion that resolves into a final noxious junk-loop at the end.

This brief bit of structured noise is instantly obliterated with the onset of the b-side "Snap". Everything is sucked inward, imploding in a vast mass of roaring, raging static. Some semblance of the humanity heard on the previous track is dragged to the surface and obliterated. This piece concludes Stalker with a blast of oppressive, dominating black static that remains almost constant over the entire runtime. Bits of machine-like jitter, traces of peripheral musicality, horrifying shrieks, it is all swirling inward, into itself, this titanic maelstrom of over-modulated electronics and eerie voice-like entities, teeth-grinding distortion, and covert structures of sound, all going down the drain forever. This is where Stalker really turns into something psychedelic, affecting your senses and your perception of the space around you as that chaos keeps seething and spinning, occasionally shooting out chunks of strange sonic debris and whiplash tentacles of high-end feedback. And then, for the first time, a volley of fearsome shrieks and howls come flying out of that chaos, incomprehensible screams of abject horror. Just for a moment, those nightmare distorted vocals blow your hair back, and it all suddenly collapses into itself, leaving you with a brief moment of deadened electrical thrum before it abruptly stops.

I've listened to a number of Boredom Knife releases, and while much of his material shares this tenacious sadism and auditory blast-violence, this one gives me the creeps. Stalker finds that blood-specked middle ground between the gargantuan murderous PE of Slogun, and the obliterating heaviosity of classic harsh noise.


Track Samples:
Sample : Snap
Sample : Envy


CULTIC  Whip Seduction ( XXL )  SHIRT   (Crucial Blast)   22.00
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Released alongside the skull-stomping new Seducer (Expanded Edition) EP, the Whip Seduction shirt features a stunning, brand-new design by Cultic drummer and acclaimed illustrator Rebecca Magar. This design is exclusive to Crucial Blast, and features what could well be my favorite art from Rebecca / Wailing Wizard to date - for real, I'm possessed by an overwhelming impulse to get this tattooed on my person. Perfectly capturing the sleaze, filth, and carnal violence of Cultic's brand of atavistic, dungeon synth-soaked death metal, it's also one of the coolest designs that we've released over here at C-Blast. This is a highly quality three-color print courtesy of our collaborators at Forest Passage Printing, available on black 100% cotton Gildan garments. GET SEDUCED.

SHIPPING THE WEEK OF FEBRUARY 9TH, 2024.




BORIS  No  LP   (Third Man Records)   22.00
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Track Samples:
Sample : Genesis
Sample : Temple of Hatred
Sample : Fundamental Erorr


ANAAL NATHRAKH  In The Constellation Of The Black Widow  2 x LP   (Back On Black)   22.00
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Back in stock.

Crushing eschatological violence. 2009's In The Constellation Of The Black Widow from British industrial death/black crushers Anaal Nathrakh is as extreme as anything the band has produced so far, a ten song blast of hellish, apocalyptic violence that signaled a return to the full-on feral fury of earlier albums like The Codex Necro and When Fire Rains Down From The Sky, Mankind Will Reap As It Has Sown. It was on those early releases that the band quickly established themselves as one of the most intense newer black/death bands to have surfaced at the dawn of the 2000s. Certainly one of the most pissed off sounding bands, that's for sure. After getting blasted with the withering misanthropy of those early works, it's tough coming up with another band that exudes as much anti-human vitriol within the death metal spectrum as these guys.

Their nihilistic tone was tempered somewhat by Anaal Nathrakh's growing inclusion of power metal-style vocal heroics and soaring melody as their career continued, though. I'd always been a fan of those more